\

S OF US
BY DOROThlY

OVIGLeV

LIBRARY OF CONGRESS.
Chap...:.... (\)pyriii:ht No.

Sholt'..._i.Q_^

UNITED STATES OF AAIERICA.

I

am

indebted to the editors of the

New York
I con-

Sun and New York yournal

for kindly allowing

me

to include in this

book

articles

which

tributed to their respective papers.

U'Q-O.C^H'O

PREFACE.

DID

you ever observe, dear

comrade, what an element
of caricature lurks in clothes
?

A

short,

round coat on a stout man
his

seems to exaggerate

propor-

tions to such a ridiculous degree

!

VI

PREFACE

that the profile of his

manly form

suggests
old jug."

''

the robust bulge of an

A

bonnet decorated with loops

of ribbon

and sprays of
fall aslant,

grass, or

flowers that

may
the

give a

laughably tipsy
face of a saintly

air

to

long

matron of pious
habits.
tight-fitting,

and conservative

A

peaked hat and

long-skirted coat

may

so magnify

the meagre physical
of a
tall,

endowments
at-

slender girl that she

tains the

lank and longish look

of a bottle of hock.

Oh

!

the

mocking diablery

in

strings,

wisps of untidy hair, queer

trimmings, and limp hats.
that

Alas

they should have such imp-

PREFACE
ish

Vll

power

to

detract

from the
render

dignity of

woman and

man

absurd.

Because of

his comical attire,

an

eminent Oxford divine, whose Hfe

and works commanded reverence,

was once mistaken

for an ancient

vm
pated
-52^

PREFACE
spinster in emanci-

New England
shaven
face,

garments.

His

smoothly
in

framed

crinkly,

gray locks, was surmounted by a
soft, little,

round

hat,

from the up-

turned brim of which dangled a

broken
coat

string.

His
to
just

long frock-

reached

above

his

loosely fitting gaiters.

The

fluttering string,
all

whose only
to

reason for being at

was

keep

the queer head-gear from sailing

away on the wind, gave a touch
the ludicrous to the boyish
which, in
its

of

hat
drol-

turn, lent

more

lery than dignity to the sanctified

face of the old theologian.

Who
has

has not seen just such, or a similar siorht,

and lauofhed

?

Who

PREFACE
not, with the generosity

IX

common

to

us

all,

concluded these were

the mistakes and self-delusions of
neighbors,
in

relatives,

and
?

friends,

which we had no share
I

understand

how

it is

with you.

am one of you. Before I studied our common errors I smiled at
I

my

neighbor's lack of taste,

re-

constructed

my

friends,

and

cast

contemptuous
enemies.
at

criticism
I

upon

my
**

One day

took a look
I,

myself,

and realized that

too,

am

laughable on unsuspected

occasions."

The humbling knowledge
ing myself
objectively,

of see-

gave

me

courage to speak to the heart of

you

certain

home

truths

which

X
concern us

iPREFACfi
in

all,

homely language
understand.

which we can

all

That you may discern the comicality

and waggery
I

in

ill-chosen

clothes,

have endeavored to hint

to

you

in these talks

some

of the

ways gew-gaws and garments make

game
dress

of us.

May you
is

discover

that

your

not making you a laugh;

able object

but

if,

by any chance,

you should note that your clothes
are caricaturing you, take
heart.

Enjoy the joke with the
that heals and heartens,
ily

mirth

and speed-

correct your mistakes.
lines of

The

your form, the modface,

elling of

your

are they not
?

worthy of your discerning thought

PREFACE
Truly
!

XI

Whatever

detracts

from

them
ing,

detracts from sculpture, paintis

and poetry, and the world

the loser.

A

word

to the thinking

is suffi-

cient.

D. Q.

CONTENTS.
PAGE

Preface

v

CHAPTER

I.

How Women
Style for
Style for
Style for
Style for

Certain Types SHOULD Dress Their Hair
of
.

i

Wedge-Shaped Faces Heavy Jaws Eyes Set Too High
. .
.

.

9 14

.10
.

Eyes Set Too Low .17 Style for Long Faces with Long Noses ig For Faces with Protruding Noses 22

CHAPTER

II.

Hints for the Selection of Becoming and Appropriate Styles in Head-gear The Magic of the Bonnet
.

.

27

.

.

29

xiii

XIV

CONTENTS
PAGE

Style for

Women

with Broad Face
.

and Heavy Chin
Style for

.

-32
34
;^6

Chin

Hat For

Chubby Woman Women Who Have Sharp and
for the
.

......
Women
.

with Tapering

Prominent

Profiles

.

.

-38
42

For the Face

Women Who
Horns

......
Woman
should
. .

with an Angular

Not Wear
. .

.44

CHAPTER
Lines

III.

That should be Recognized AND Considered in Making
48

Costumes
Style for Tall Slender

The Coat the Short should Wear The Cloak or Cape
.

Woman Stout Woman
.

50

.

.

.52
-55

for
.

a Tall
.

Woman

.

.

CHAPTER

IV.

How Plump and

Thin SHOULD BE Clothed

Backs
.

.

62

CONTENTS

XV
PAGE

CHAPTER V.
Corsages Appropriate for

Women
85

UnBEAUTIFULLY MODELLED Throats and Shoulders
WITH

CHAPTER
Hints

VI.

on

Dress

for

Elderly
99

Women
CHAPTER Vn.

How Men

Caricature Themselves 108 with Their Clothes
.
.

•WSi

WHAT DRESS MAKES OF

US.

CHAPTER
HOW WOMEN

I.

OF CERTAIN TYPES SHOULD DRESS THEIR HAIR.
pleasing, but

THE audacious
clever writer

somewhat
**

statement of the
asserted,

who

In the
there
dis-

merciful scheme of nature,
are no plain

women,"

Is

not as

putable as

It

may

seem.

Honest

husbands, to be sure, greet the

2

WHAT

DRESS MAKES OF US
with
dissenting gufreflect

information

faws
its
it,

;

gay deceivers

upon

truth

by gallantly assenting to
little

with a mocking
;

twinkle in

their eyes

and pretty women, upon
remark sententiously
fools
:

hearing
**

it,

Blind

men and

may

think

so."

Discerning students of woif

mankind, however, know that
every

woman would make
and
spiritually,
it

the best

of her possibilities, physically,
tally,

menthe

would be
*'

delightfully probable that

in

merciful scheme of nature" there

need be no plain women.

Have we
word
for

not Lord Chesterfield's
that
is
*'

it,

No woman
" ?

is

ugly when she
It is

dressed

no unworthy study to learn

DRESSING THE HAIR
to

3
jus-

make

the best

of,

and to do

tice to, one's self.

Apropos
all

of this,

to

begin

— where
every

fascinating
at the head,

subjects should begin
it

behooves

woman who

wishes to appear at her best, to

study the modelling of her face
that she

may understand both its By a defective and perfect lines.
proper arrangement of her hair a
can do

woman

much

to obscure or

soften her bad features, and height-

en the charm of her good ones.

Romancers

have

written,

and

poets have sung, of the bewitch-

ment

in

nut-brown locks, golden

tresses,

and
if

jetty

curls.

Every

woman,

so inclined,

may prove

for herself the transfiguring effect

4
in

WHAT

DRESS MAKES OF US
coiffure.

a becoming

In

fact,

the beauty of a woman's face and

her apparent age are greatly
fected

af-

by the way she wears her hair.
detail that too

A
tion

most important
Is,

few consider,
in

the proper direchair.

which to comb the

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
intended
*'

in the direction nature

it

should, and refuses to
it

stay

where

is

put," giving the

head

in con-

DRESSING THE HAIR
sequence, an unkempt and what

5
is

termed an ''unladylike" appearance.

The criss-cross

effect resulting

from
hair

combing and arranging the

NO. 2

contrary to

**

the grain

"

is

con-

spicuously apparent in the coiffure
of

no

less

a personage than Elea-

nora Duse, who, as

may be

seen

6

WHAT

DRESS MAKES OF US
picture,

from the

pays

little

atten-

tion to the natural tendency of the

dark tresses that cover her shapely
head.

The

bang has

the

di-

shevelled appearance of a pile of
jack-straws.

The

side-locks instead

of being

combed
fly

or brushed to

folfall

low the contour of the head,
loosely
tions.

and

in

opposite direc-

The
in

difference in appearance be-

tween the

women
is

of the smart sets of less fash-

America and those

ionable circles

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
if

woman

her maid does not understand the

DRESSING THE HAIR
art of hair-dressing.

7

Many women
coiffeur.

of the wealthy world have their

maids taught by a French

woman will adopt a prevailing mode with discretion, for what may be essentially appropriate for one, may be fatally inappropriwise
ate for another.
*'

A

In adjusting her
"

crown of glory
should

a

woman must
to discern

consider the proportions of her face.

She

be

able

whether her eyes are too near the
top of her head
or,

too far below

;

whether she has a square or wedgeshaped 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.

;

8

WHAT

DRESS MAKES OF US

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
is

poem

as

it

to paint the one, or write the

other.

Indeed, a

woman who

har-

moniously develops the best within
her has the charm of an exquisite

poem and
and
if

inspires poets to sing of

by the grace and beauty

her dress she enhances her natural

endowments and makes
her debtor.

herself a

pleasing picture, the world becomes

In the important matter of be-

comingly arranging the

hair,

the

following sketches and suggestions

DRESSING THE HAIR

9

may hint to bright, thinking, women
what
styles to

choose or avoid.

For Wedge-Shaped Faces.

The
is

least-discerning eye can see

that the wedge-shaped face No. 3
caricatured,

NO. 3

NO. 4

and

its

triangular proportions

made
bang

more

evident,

by allowing the hair

to extend in curls or a fluffy

on either side of the the head.

Women
faces

with delicately modelled
chins should

with peaked

lO

WHAT

DRESS MAKES OF US

avoid these broad effects
their brows.
It is

above

obvious

in the

sketch No.
is

4,

that the wedge-shaped face
ceptibly improved

per-

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 promi-

nence of the chin being counteracted by the surmounting puffs.

For Heavy Jaws.

may readily be seen woman with the square,
It

that

a

heavy5,

jawed

face

pictured

by No.

should not

adopt a straight, or

DRESSING THE HAIR

II

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
all

relief
NO. 5

the hard lines of her face and

gives the impression that she has
pugilistic tendencies.

To

insure artistic balance to her

countenance, and

bring

out

the

womanly strength and
ranged
will
in coils, puffs,

vital

power

of her face, her hair should be ar-

or braids that

give breadth to the top of her
6.

head as shown by No.
softly curled

A
it

fluffy,

bang adds grace

to

the forehead and gives
essary broadness
it

the nec-

needs to lessen

12

WHAT

DRESS MAKES OF US
the heaviness of
face.

and

llofhten

the
of

lower part of the

A

bow

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
NO. 6

her strong chin.

For Short Faces.

The

sisterhood

who have
in

short,

chubby faces should,

a measure,
in

observe certain rules that apply a small degree to those

who have
a

heavy

chins.

As may be observed even with
casual glance, the
little

short-faced
7,

woman

depicted by No.

causes

DRESSING THE HAIR
her round
facial

13

disk to
it

appear
is by-

much

shorter than

really

come so down on her forehead. She
allowing her hair to
ther
detracts

far
fur-

from
**

her

facial
NO. 7

charms by wearing

water-waves."

Water-waves are scarcely to be

commended
and they are
to the

for

any type of

face,

especially

unbecoming

woman who is conspicuously "roly-poly." The round eyes,
nose,

knobby

and round mouth are
distinct-

brought into unattractive

ness by being re-duplicated in the
circular effects of the hair.

This

mode

of dressing the hair

makes a
insig-

short face look
nificant.

common and
this

Do

you not see that

type

is

14

WHAT

DRESS MAKES OF US

immensely improved

by the

ar-

rangement of the
8
?

coiffure in

No.

By combing her
and

hair off her

forehead her face acquires a look
of alertness
intelligence,

be-

sides being apparently lengthened.
NO. 8

She can wear her bang
crimps
brow,
if

in

soft

brushed
this

back from

her
is

plam arrangement

too severe.

For Eyes Set Too High.

A

low forehead

is

supposed to
in

be a sign of beauty

woman.

The brows
this reason

of the

famous Venuses
Perhaps for
their

are low and broad.

many women wear
upon

hair arranged low

their fore-

heads.

Whether the

hair should

5

DRESSING THE HAIR

1

be worn low on the brow depends
chiefly

on two things,

''the setting

of the eyes,
face."

and the quality of the
rule to observe

A

good

Is
*'

the
the c the
if
NO. 8^.

artistic one, to

the effect that

eyes of a

woman

should be

in

middle of her head."

That

is,

an imaginary line Were drawn across
the top of the head and another

below the
be

chin,

exactly

midway

between the two the eyes should
set.

The Japanese
going
hint.

type of

woman

should carefully observe the fore-

Observe No.
been
artistic.

8^.

Nature has not
eyes are too

The

near the top of the head.

The

1

6

WHAT
is

DRESS MAKES OF US

defect
sized

exaggerated and emphaof the hair

by the wearing
forehead.

low on the

In
is

some
brutal-

faces of this type the face

ized in appearance

by

this arrange-

ment.
rr^-.

The

expression and whole

quality of the countenance can be
NO. 9

greatly improved
hair as

by arranging th^
9,

shown by No.

which

is

the soft

Pompadour

style.

The

Duchess of Marlborough, formerly
Consuelo Vanderbilt, frames her
naive,

winsome
like
this.

face,

which

is

of

the Japanese type, in a style some-

what

Her dark

hair

forms an aureole above her brow,

and brings

into relief

the dainty,

oval form of her face.

Even

sim-

ply brushing the hair off the fore-

DRESSING THE HAIR

17
will

head without
improve the

crimp or

roll

appearance of
it

this

type of face and give
artistic balance.

a better

For Eyes Set Too Low.

Women
far

whose eyes are
in

set too
NO. 10

down

their

faces

should

adopt a

mode

of arranging their

hair exactly the opposite of those

whose eyes are
It is

set too

near the

top of their heads.

apparent that No. 10 exag-

gerates 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

1

8

WHAT

DRESS MAKES OF US
bald forehead
to
Is

brow.

A

rarely

becoming

any woman.

A

few

stray curls or soft
to even the

waves lend grace
of brows.

most perfect
the hair

By bringing
NO. II
1 1,

down over

the forehead, as suggested in No.

a

woman

with this type of face

can easily improve her appearance.

By

this graceful

arrangement her

face loses

the childish and some-

times

stupid

expression

that

Is

peculiar to the type, as

may be

dis-

cerned
is

In

No.

lo.

When

the hair

properly arranged this element

of childlikeness lends a certain ap-

pealing sweetness not unattractive

even
trons.

in

the faces of matured ma-

By

dressing the hair low

so the coil does not appear above

9

DRESSING THE HAIR
the crown, as in No.
11,

1

the eyes

are apparently properly placed.

For Long Faces with Long
Noses.

The woman who wears
tresses arranged

her silken

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
is

and

pretty.

She

the

Madonna
all

type and seems to possess

the

attributes of gentleness, modesty,

and meekness, and angelic sweetness that are supposed to characterize

the distinctively feminine wo-

man.
coiffure

This

is

the ideal style of

much bepraised by man,
mod-

because, according to a bright

20

WHAT

DRESS MAKES OF US
**

ern Amazon,

it

makes a woman

look SO meek."

The
really

only type to which

it

is

becoming

is

the

Italian.

The

type with matte complexion,

soft eyes, finely chiselled nose,

and

delicately

oval chin, look ideally

sweet and feminine with the hair

arranged a

la

Madonna.

Long
by No.

faces of the form pictured
12

exaggerate the long-

ness and leanness of their faces by

wearing their locks
curtains.
NO. 13

like

looped

A

Ions:

nose with two

long lines on either side of the

cheek seems longer than
the observer

it

is,

as

may

discern

three

lines instead of only the nasal one,

and the impression

of longness

is

DRESSING THE HAIR
emphasized.
of

21

Not only is the length the countenance made more nobut years and years are

ticeable,

If^ '^\\

apparently added to the actual age.

That No.
inof

13,

which shows a

part,

and

soft

waves that do not
ears, is to

come below the
ferred by a

be pre-

woman whose

features

are of this character need hardly

be explained.
in

The improvement
NOS. 14

looks

is

quite obvious.
is

AND

15.

No. 14
guided

an example of a misof the

woman

pudgy type

who, for some inexplicable reason,
arranges her hair in the
style.
It is utterly

Madonna

unsuited to her

face.

U nless her ears are deformed
style

this

of hirsute lambrequins
full,

should not be worn by a

round-

22

WHAT

DRESS MAKES OF US

faced woman.

The arrangement
makin-

sketched

in

No. 15 adds effectively

to her appearance, not only

ing her look younger, but less
ane.
NO. 16

For Faces with Protruding Noses.

Women
ing,

with decidedly protrudnoses
in
ar-

or

irregular, tip-tilted

should be especially careful

ranging their

coiffures.

Any woman who
her
facial defects

arranges her

hair as in sketch No. 16 caricatures

by increasing the

too protuberant lines of her nose.

The

distance from the end of her
tip
is

nose and the

of

the topmost

knot of hair

too long for either

beauty or intelligence.

The shape

DRESSING THE HAIR
of her

23
pro-

head acquires

idiotic
is

portions,
entirely
''

and her nose

placed

out of drawing

"

and

is

obtrusively conspicuous
in profile.

when seen

This type of

generally classified
quisitive,

woman is among the inenergetic.

bright,

and

She should aim

to modify the unprofile as

happy angularity of her

well as to repress her gossipy tendencies.

The graduated
coiffure,

coil of

hair

and waved
1

shown by No.

7,

are most felicitous in their effect
this

on

type of

face.
NO

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
is

that her coifTure

held by invis-

24

WHAT

DRESS MAKES OF US

ible strings

by her nose, which gets
it

a more elevated look than

other-

wise would have, because of the

bad angle
placed.

at

which the

coil

is

No.
NO. 19

19,

which

is

a picturesque

variation of the popular coif, manifestly

improves

this type of face,
less

and makes the nose appear
obtrusive.

A woman
side
;

should carefully study

the contour of her head from every
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
will
face,

coiffure that

give artistic balance to her

and never absolutely change

;


25
in

DRESSING THE HAIR
the style whatever the
hair-dressing

mode
In

may

be.

Eng-

land, the court hair-

dresser years ago
studied the character
of the head

and face
of

of

the

Princess

Wales, and designed
a coiffure for her

which she has never
varied until recently

then she merely

ar-

ranged her fringe lower down on her
1

11
it

NO. 20

forehead than she has ever worn
before.

The
hair,

general style, howintact,

ever,

she

preserves

and

wears her
years, as

and has

for

many

is

shown

in the picture

26

WHAT
20.

DRESS MAKES OF US

No.

Her

daughters,

who have
In never

faces the

same shape

as hers, dress

their coiffures similarly.

changing the style of arranging
her
hair,

the

Princess

of

Wales

owes

in

no small degree her apPre-

parent air of youthfulness.

No Matter What the
vailing Style these Rules
BE Practically Applied.

may

CHAPTER

II.

HINTS FOR THE SELECTION OF BECOMING AND APPROPRIATE STYLES IN HEAD-GEAR.

CLOSELY
of head-gear.
hints

allied to the subis

ject of hair-dressing

that

Indeed many of the
coif-

regarding appropriate

fures for certain styles of faces are

equally applicable to the selection
of
suitable

hats
of

and

bonnets.
Is

The choosing

millinery
of

the

more momentous
27

the two, of

28

WHAT

DRESS MAKES OF US
I

course, for

need scarcely remind
left

you that Nature
in hair.

us no choice
its

No
we

matter what

color
it

or texture
if

desire to keep

and
the

we

are wise
it.

we

will

make

best of

In regard to hats
ally responsible

we

are personfollies

and our

are

upon our our own heads.

The power
ing, is
it

of caricature being

greater in hats than in hair-dress-

not

fit

that

we

should give

careful

and

intelligent considera-

tion to the selection of our millinery

that the ugly lines

in

our othernot be at

wise beautiful faces

may

the mercy of mocking bunches of
ribbons, comically tilted straws, or

floppy bits of lace

?

HINTS FOR HEAD-GEAR

2()

The Magic
was the exact

of

The
I

Bonnet.
think that

Once upon a

time,
date,

there was a
in

man

distinguished

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
ugliness,
will

for
if it

some

time.

But even
tinction,

attain disin

excite

envy

the

low-minded.

A

former associate

of the unbeautiful

man

in Invidious

temper brought the news one day

"

30

WHAT

DRESS MAKES OF US

to the king, that there

was an old was

woman
who by
a place.

in

his

domain that
lowly-born

ugHer than the

man

kingly favor held so high
''

Bring her to the court.

Judges
If

shall
is

be called to decide.

she

uglier she shall stay

and

he

shall go,"

was the royal manthe old

date.

When

woman

ap-

peared she was easily decided to

be by

far the uglier of the two.
critical

At the
king
missing
inue, a

moment when
his

the
disret-

was upon the eve of
the

man from

friend of the unfortunate
!

shouted, " Put her bonnet on him

This was done, and

lo

!

a fearful
unani-

change was wrought.

By

mous acclamation he was declared

1

HINTS FOR HEAD-GEAR
to

3

be

**

the

ugliest

creature on

earth."

The

old

woman,

true to the in-

stincts of her sex, refused to

wear

her bonnet again.

Like many of

her sisters of modern times, she

had not before discovered the possibilities

in

a bonnet to enhance

the beauty of the face or decrease
its

charms.
If

women

could see themselves

objectively, as did the old

woman,

they would keenly realize the necessity of considering the lines of hat

or bonnet in relation to those of
their
faces,

and would learn to

obscure

defects

and

bring

into

prominence their

prettiest features.

As

there are a few rules to gov-

32

WHAT

DRESS MAKES OF US

ern what each type should select,

every one of the

fair

sisterhood has

_
'"^
l^^

an equal opportunity to improve
her appearance by selecting in the
millinery line the distinctive adorn-

W

ment
NO. 22

suited to her individual style.

For

Women with

Broad Face and
Chin.
of contrariety

Heavy

By a curious law the woman with a

broad,

heavy
round

chin seems to have an ungovernable penchant for trig
little

bonnets, or trim turbans with perky
aigrettes, like that in sketch

No.

22.

By obeying
she

this wilful

preference
delicacy

obscures
in

whatever

may be
features

the modelling of her
into conspicu-

and brings

HINTS FOR HEAD-GEAR

33

ous
face.

relief

the ugliest lines of her
chin
is

Her

apparently

in-

creased in heaviness

and the broadness of
her face is made prominent.
easily

She could
have restored
balance

the

artistic

to her facial lines

by
NO. 23

wearing a large

hat, ^

rather heavily trim-

med, as

in

No.

23,

thus effectively

modifying the strong curves of the
chin

and signally improving her
If

appearance.
fairly

a woman's face

is

proportioned, not too short
breadth, and she can not

for

its

afford plumes, this type of

woman

can

still

give a becoming balance

34

WHAT

DRESS MAKES OF US

to her face

by adopting hats that

are trimmed with flamboyant
that
flare

bows

horizontally across the

hat, diverging
in the front.

from a central knot

For the

Woman

with Tapering

Chin.

The woman who

is

the exact

opposite of the type with the ample lower jaw, but

whose

chief disadlies in

vantage

her

broad, manly

brow

and tiny tapering
chin,
NO. 24

should avoid

all

horizontal trimIt

mings, bows or broad hat-brims.
is clear, in

No.

24, that

such trim-

HINTS FOR HEAD-GEAR

35

mings Increase the wedge-like appearance of the face and give
the grotesque suggestion
it

of

an ordinary

flower-pot in which

grows a sickly

plant.

This type can perceptibly improve up-

on nature by choosing the style of hat

and neck-gear shown

by No.

NO. 25

25.

The
ful

crinkly ovals that form the
hat,

brim of the

and the

soft,

grace-

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, pro-

duce a pleasing transformation of

36

WHAT

DRESS MAKES OF US

the meagre-looking original that to
the uninitiated seems
of magical.
like
little

short

The

broad,

cravat-

bows,
as
**

and the

flaring

ones

known

incroyables,"

were be-

neficently invented for

women with
of

wedge-like faces and throats that

have

lost the seductive curves

youth.

Hat

for the

Chubby Woman.
of

That amiable type
formed
conspicuously
circular plan,

woman
the

upon

often unconsciously

impresses the fact of her fatal tend-

ency to rotundity by repeating the
NO. 26

roundness of her globular eyes, the
disk-like

appearance of her snub
circle of

nose and the

her round

HINTS FOR HEAD-GEAR

37

mouth, and the fulness of her face

by wearing a

Httle,

round hat

in

the

style portrayed
26.

by No.
her

The

curls

of

bang, the feathers in
her hat, the high
lar of
col-

her jacket

make
the-

more
not

significant

fact that her lines are
artistic
is

and that
unbeautifully

n°- ^7

her face

round.

She can enhance her charms and
apparently decrease the too spherical

cut

of

her

countenance by
illustrated in

adopting the

mode

No.
hat,

27.

The

angular bows on the
lines

the

geometric

of

the

broad hat-brim, the precise cut of

38

WHAT

DRESS MAKES OF US

the lapels on the corsage, the neat

throat-band and V-shaped vesture

all

insinuate in a most engaging

way
cular

a dignity and

fine,

high-bred
cir-

poise totally obliterated by the
style

of

dress

erroneously

adopted by the misguided

woman

_

in

No.

26.

For

Women Who Have
Prominent

Sharp and

Profiles.

In buying a hat

many

of

the

"unfair sex"

as the

modern wag
sisters

dubs the progressive
wish to have
privileges
sides
all

who
be-

man's rights and
their

and keep

own

—never seem to consider their
In consequence, as sketch

heads but from a front point of
view.

"

HINTS FOR HEAD-GEAR

39

No

28 hints, a head seen from the
if

side frequently appears,
otically,
ally,

not

idi-

very

inartistic-

proportioned.

Occasionally a hat
presents as comical an
effect in a front as in

a side view, as

seen in

may be No. 29. The

NO. 29

wearer was an elderly

woman

with
in

gray hair which hung down
half-curled

a

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,

40 WHAT DRESS MAKES OF US
and looked singularly waggish
flut-

tering against the spriggy-looking

projections of gray hair.

The rules for the wedgeshaped face, as may
readily

be

discerned,

apply here.

Women who
outlined
NOS. 30

have
have

sharp and prominently
profiles

AND

31

a curious tendency to
hats,

choose

the brims of which

project too far forward in front,

and turn up too abruptly and ungracefully in the back.

As shown
face

in

No. 30 the pro-

truding brim gives the head and
the unattractive proportions
capital
letter
**

of the

F."

The

HINTS FOR HEAD-GEAR
length
of

4I

the nose

is

emphasized
it

by the
and
it

line of

the hat-rim above

appears unduly obtrusive.

The

flat

arrangement of the hair
in

and the curve of the hat-brim
sive qualities of the features.

the back also exaggerate the obtru-

By

choosing a hat somewhat similar to
the one sketched in No. 31, the unattractive sharpness of the profile
is

modified, and the alert, agree-

able quality of the face, that was

obscured by the

shelf-like

brim,

becomes apparent
feels, if
is

The

observer
it,

he does not voice
spirit

that

it

a progressive
instead

advancing
ungainly

forward

of

an

head-piece that looks like a curious
trowel.

;

42

WHAT

DRESS MAKES OF US
with an Angular

For the

Woman

Face.

The woman

with the angular

features presented in

No

32 should

not wear

a sailor-hat

or any hat with a perfectly straight rim.

The
it

sailor-hat or

any style bordering on
should be selected

with utmost discrimination.

This mode

is

unbecoming

to a wo-

man more than forty or, to one who through
NOS. 32

AND

33

.

-

griet or

worry prema-

turely attains a look of age, or to

one whose features are

irregular.

The

straight

brim across the face

HINTS FOR HEAD-GEAR
is

43

very trying.

It casts

a shadow
"

deepening the

" old

marks

and
off,

instead of being a frame to set
it

seems to cut

off,

the face at an

inartistic angle.

The woman with angular features, as may be seen by No. ^^,
can wear with impunity, and always
should wear, a hat the brim of

which
curved

is

waved, turned, twisted, or

in graceful lines.

The

un-

even brim of her hat makes an
effective
larity of

complement

to the anguis

her chin, which

further

softened by the feathery ruff that
encircles her throat.

The

curves
the

of

the ostrich

plumes, and

studied carelessness of the arrange-

ment

of her coiffure,

subdue the

44

WHAT

DRESS MAKES OF US

angles of her face which are brought

out in unbecoming prominence by
the sailor-hat.

Women Who
The
of

should

Not Wear

Horns.
velvet horns on either side

a hat, the steeple-like central

adornments that were once much
in

favor,

and the Mercury wings
coiffure for even-

that

ornament the

ing dress, produce
disagreeable,

some startling, and amusing effects

not altogether uninteresting to consider.

Faces

in

which the eyes are set

too near the forehead acquire a
scared look by being surmounted

by a bonnet upon which the

trim-

HINTS FOR HEAD-GEAR

45

ming

gravitates to a point In an

arrangement not unsuggestlve of a
reversed fan, horns, or a steeple.

The most
ments
result

unpleaslng develop-

from the wearing of
the face above

the horn-like trimmings either in
velvet or
jet.

If

which they
spiritual
sities in

flare

has less of

the

than the coarse propenit,

the grotesque turns and

twists in the head-gear

emphasize

the animality In the lines characteristic

of low-bred tendencies,
is

and the

whole countenance

vulgarized.

One face acquires
and so
on.

the look of a fox,

another of a certain type of dog,

The most amusing exaggerations
of distinctive facial lines are pro-

46

WHAT

DRESS MAKES OF US

duced by Mercury wings.
good-natured

The
in

woman
iar

of the famil-

type depicted

No. 34 brings every bovine attribute of
her
placid

counten-

ance into conspicuous
relief
NO. 34

by surmount-

ing her face with the

wings of the
footed god.
serenity of

fleet-

The cow-like form and her features are made
-

laughably obvious.
Short,
delicately

faced

women

can adorn their coiffures with Mercury wings with
results.

most charming

Wings, or perpendicular

bows, add length to the lines of the
short face, giving
it

a certain sug-

HINTS FOR HEAD-GEAR

47

gestion of refinement and distinction that
is

wholly destroyed by

the wearing of any trimmings that

show at the sides. NO MATTER WHAT THE PREVAILING STYLE THESE RULES MAY BE
PRACTICALLY APPLIED.

CHAPTER
AND CONSIDERED

III.

LINES THAT SHOULD BE RECOGNIZED
IN

MAKING

COSTUMES.

MME.
larity,

La Mode, much
all

misrep-

resented as are

who

are

embarrassed with world-wide popualways considers when de-

signing fashions that
In form, as in

women
She

vary

mood.

suits all

needs, although this fact has never

been cast to her
48

credit.

With a

beautiful sense of adjustment

—as

MAKING COSTUMES
obvious as that
jects the
in

49

Nature, that pro-

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,

ar-

biter of styles, balances her fashions.

Never came the big hat without
the small bonnet.

Accompanying
the never-failing

the long cloak
short cape.

is

Side by side

may be
in

found the long coat and the short,
natty jacket.

This equilibrium

wearing
through

apparel
all

may be

traced

the vagaries of fashion.

Everybody's need has been considered,

but

everybody has

not

considered her need.

The
4

short, stout

woman

passes

a

so

WHAT

DRESS MAlCES OF US
to

by the long coat better adapted
homeopathic tendency of Hke

her and seizes a short jacket—
suit-

ing Hke, sometimes efficacious in
medicine, but fatal In style.
Style for Tall Slender

Woman.

The

very

tall,

slender

woman fre-

quently ignores a jaunty jacket and
takes a long coat like that shown
in

No.

36.

To

even the sluggish fancy of an
she sug-

unimaginative observer
gests a

champagne

bottle,

and to

the ready wit she hints of no end of

amusing possibilities

for caricature.

The very tall woman should know that long lines from shoulder
to foot give height,

and she must

MAKING COSTUMES

SI

discerningly strive to avoid length
of line in her

garments

until she

dons the raiment of the angels.

NOS. 36

AND

37

Horizontal lines crossing the

fig-

ure seem to decrease height, and

should be used as
in

much

as possible

the arranging and trimming of
tall

the

woman's garments.

52

WHAT

DRESS MAKES OF US
equal37, the

By selecting a shorter coat
ly modish, as

shown by No.

too

tall

woman

shortens her figure

perceptibly.

The belt
in

cuts off from her height
collar,

a felicitous way, and the

also horizontal, materially

improves
high
in

the size of her throat.
collar,

The

such as finishes the coat,

No.

36,

adds to the length.

Those

who have

too long arms can use

horizontal bands on sleeves most

advantageously.

The Coat

the Short Stout

Woman

should Wear.

The short jacket that so graciously

improved the appearance of the
is

slender specimen of femininity

MAKING COSTUMES
sinister in its effect

53
short,
It

on the

stout

woman,

in

sketch No. 38.

should be the study
of her Hfe to avoid

horizontal lines.

Length of limb
to be desired

is

bedis-

cause

it

adds

tinction.

Her belt,
ef-

the horizontal

fect of the skirt of

the jacket, the hori-

^°^" ^^

''''''

^^

zontal trimming of the bottom of

the

skirt, all

apparently shortening

her height, tend to

make her

ordin-

ary and commonplace in appearance.
If

her hips

are not too pro-

nounced she can wear the long

54

WHAT

DRESS MAKES OF US
in

coat,

shown

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 promi-

nent, she should avoid having
tight-fitting

any

garments that bring the

fact into

relief.

She should not
but she can
suit
ef-

wear the long
fectively

coat,

modify it to

her needs,

by only having a
jacket or basque

skirt,

or tabs, or
If

finishing straps in the back.
Is

her

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 con-

cealing

it.

The

front should be

made

In a

jacket effect, finishing just at the

MAKING COSTUMES
walst-llne

55

and opening over a blouse

front that will conceal the waistline.

It is best for

the too short,

stout
line

woman as much

to obscure her waist-

as possible, to appar-

ently give her increase of height.

To
course,

put the waist-line high up

adds to length of limb, and, of
is

to be desired,

but the
is

fact that

what

is

added below

taken from above the waist, should
impel careful discrimination
in

the

arrangement
band.

of

this

equatorial

The Cloak

or

Cape

for

a Tall

Woman.
The
long circular cloak
is

an-

other graceful garment that can be

56

WHAT

DRESS MAKES OF US
effect

worn with charming

by the

woman

of classic height, but should

never be

in

the wardtall

robe of a very

wo-

man
vice
in
its
is

except for use at

the opera,
is

when

its ser-

chiefly required

the carriage, or

when
It

wearer

is

sitting.

so obvious, in sketch
40, that the vertical

No.

lines the folds
^°'^^

of
fall

the
into

cloak naturally

give a steeple-like appearance to
the
tall

woman

it

enfolds, that

it is

scarcely necessary to

comment

up-

on

it.

That

her

judicious

selection

should have been the short cape,

MAKING COSTUMES
which comes, as
to
all

57

capes should,

be

artistic,
is

well

below

the

elbows,

clearly illus-

trated in picture No.

41.

The

horizontal

trimming very becomingly plays
its

part in

the generally improving
effect.

The one who
in

can

wear the long cloak
an unchallengeable
is

manner
stout
42.

the short,
in

''°-

^^

woman, shown

sketch No.

By wearing
in

the short cape with

circular, fluffy collarette,

sketched

No.

43,

she gives herself the
affrighted

look of a smothered,

58

WHAT

DRESS MAKES OF US
;

Cochin China chicken
imaginative

or,

as an

school-girl

remarked

NOS. 42

AND

43

of her

mother who wore a cape of
if

similar style, " she looks as

her

neck were encirled by bunches of
asparagus."

The military

dignity she acquires
is

by wearing the long cape
tinction in form.

becom-

ing to a degree, and gives her dis-

MAKING COSTUMES

59

By remembering
height,
to
it,

that horizontal

trimmings apparently decrease the

and that

vertical lines

add

those

who

desire to appear

at their best will use discernment
in

dividing

their

basques

with

yokes, or corsage mountings at the
bust-line or
frills

at the hip-line.

A

flounce on the corsage at the

bust-line,

another at the
at the

hip-line,

and yet another
the
shirt,

bottom of

increases the impression

of bulkiness

most aggressively and

gives a barrel-like appearance to

the form of a stout

decidedly funny,
in

woman that is as may be seen

sketch No. 44.

A study of
will

the lines of the form

not only aid one in adopting a

6o

WHAT

DRESS MAKES OF US
style of dress, but
artistic perceptions,
life.

more becoming
will

sharpen the

thus adding to the joy of

NO. 44

**

A

beautiful

form
"

is

better

than a beautiful face

and should
lines

be clothed so that
appear
at

its

may
not

their

best,

and

be exaggerated

and
seen

caricatured.

The

figure

is

many more

times than the face, and the defects of the

former are more conlatter.

spicuous than those of the

1;

MAKING COSTUMES

6

Do
tiful

not be unjust to your beau-

body, the temple of your soul
all,

above

do not caricature

it

by

selecting your clothes with

indis-

criminating taste.

NO MATTER WHAT THE PREVAILING MODE THESE RULES MAY BE
PRACTICALLY APPLIED.

CHAPTER

IV.

HOW PLUMP AND THIN BACKS SHOULD
BE CLOTHED.

SHE was from the middle-West,
and despite the
half-blown
fact that she

was married, and that twenty-one
blush
roses

had en-

wreathed her last birthday cake, she

had the
a child

alert, quizzical

brightness of

who

challenges everybody

and everything that passes with the
countersign
tigated

**

Why
62

? "

She inves-

New York

with unabashed

PLUMP AND THIN BACKS
interest,

6;^

and,

like

many another

superior provincial, she freely ex-

pressed her likes and dislikes for
its

traditions, show-places,

and peo-

ple with a

commanding and amus-

ing audacity.

Her objections were numerous. The chief one that made a deep
impression upon her metropolitan
friends

was

her

disapproval
acting.

of

Sarah

Bernhardt's

The
be-

middle-Westerner, instead of

coming
and

ecstatic in her admiration,

at a loss for adjectives at the

appearance of the divine Sarah,
merely perked at the great French
artist for

some time and then
querulously
?
**
:

de's

manded,

What

the matter with her

Why

does

64

WHAT

DRESS MAKES OF US

she play so

much with her back
?
I

to

the audience
It

don't like

it."

was a shock

to the adorers of

Sarah Bernhardt to hear her so
irreverently criticised.
ally

They
defence,

loy-

united

in

her

and

sought to squelch the revolter by
loftily

explaining that the actress

turned her back so often to the
audience because she had such a
noble, generous nature

and desired

to give the other actors a chance.
**

She

lets

them take the centre

of

the stage, as they say in the profession,"

remarked one of the party,

who
**

prided herself

upon being

versed in the argot of the theatre.

But she plays with her back to

the audience

when she

is

speaking

PLUMP AND THIN BACKS
and
acting,

65

and everybody

else

on

the stage

is still

but herself," petu-

lantly insisted the
tine,

Western

Philis-

showing no signs of
situation

defeat.

The

was not wholly
of
in

agreeable.

The worshippers

Sarah could say nothing more
justification of her turning her

back

on them,
logic,

but, with
''

true feminine
If

concluded,

Sarah Bern-

hardt turns her back on the audi-

ence
is

it is

right,

and that

is all

there

to say."

Just at this dramatic

moment a The
voice

voice from the adjoining row providentially

interposed.

belonged to a well-known exponent
of physical culture,

who was never
instructing the

so happy as

when

66

WHAT

DRESS MAKES OF US

intellectually needy.
will tell

She
the

said

**
:

I

you why she plays with
audience
actress

her

back towards

more than any other
the stage to-day."

upon

The

middle-

Westerner, no

less

impressed than

her metropolitan friends, listened
eagerly.

The exponent
ally
'*
:

of straight backs
didactic-

and high chests explained

The back
;

is

wonderfully
of vital
this

expressive
expression.

indeed

it is full

Bernhardt knows

better than any other actress be-

cause she has studied statuary with
the passion of a sculptor, and be-

cause she understands that, not only the face, but the entire physical
structure,
is

capable of expressing

PLUMP AND THIN BACKS
dramatic emotions.

67

Strong feeling
re-

and action may be strikingly
vealed by the back.
denunciations, even prayers,
to be charged with

Imprecations,

seem

more

force

when

an actress delivers them with her

back turned, or half-turned to the
audience.
**

Bernhardt's back expresses a

storm of fury when she imprecates
vengeance," said the voice of authority.
is
**

Not only on the stage
disits

the expression of the back

cernible,

and a knowledge of
drawing-room and

character valuable, but in every-day
life

in

street.

How many women

consider their
?

backs when they dress

Look

at

the backs here deformed by laces

68

WHAT

DRESS MAKES OF US
she went on contempt-

and

fallals,"
''

uously.

The

majority of

women
I

never look below their chins and

believe not one in ten ever looks

thoughtfully at her back," she said
emphatically.

The

dramatic value of a well-

poised, expressive back

may

only

concern the thousands of young

women who

are aspiring to be a
;

Sarah Bernhardt or a Rachel

but

a knowledge of what constitutes a
properly and
artistically

clothed
all

back should be of interest to

women

in civilized countries.
is

That there
assertion

much
''

truth in the

that

the

majority

of

women
chins,

never

look

below

their

and not one

in ten

ever looks

I'LUM)'

ANIJ

THIN HACKS
licr

69

thourHitfiilly

.'it

back," cycry

observer
tesU'fy.

of

woiii.inkind

mi^ht

The open
/|5, is

placket-hole and sag-

^in^- waist-band,

sketched

in

No.

an

all

too familiar sl^ht that the
fact

advertises

that

too few

women
tlieir

take even a cursory look at
leathers

backs,

and brothers

wlu) wish to protect their

womanfre-

'*". ^ij

kind

from

adverse criticism

quently
uj><>u

^ive

impromptu
subject,

lectures
as
this

lliis

very

slovenly arrangement of skirt and

basque
Street,
ly

Is

not only seen

In

Grand
in

Second Avenue, and equal-

(mfashionable quarters, but

Jwftli

Avenue where

the,

modish

set are en dvidencc.

If

the dainty

JO

WHAT

DRESS MAKES OF US

safety-pin displayed in

No.

46,

goes

out

of

vogue,

the

time-honored

custom of sewing hooks to the
waist-band of the dress,
fashion.
fer this
is

always

in

Indeed,

many women pre-

way

of connecting separate

skirt

and waist to using a conspicuThis
is

ous pin.
NO. 46

almost too

trivial
it

a detail to discourse upon, but
as true that details
it

is

is

that " trifles
life

make dress as make life " and

neither

nor dress

is

a

trifle.
is

The

offence in No. 45

more
of

the result of untidiness than

a lack of artistic discrimination.

Nos.

46-I-

and

47,

on the contrary,

outrage the laws of art, and display
ignorance of the value and beauty
of lines.

PLUMP AND THIN BACKS
No.
46|-

71

might serve to conceal

a deformity of the shoulders.
really

That

seems

its

only ex-

cuse for being.
full,

The

ugly, straight pleat

that falls to just below

the waist-line lends
neither grace nor style V^'
to the figure.
It is

too

short to give the distinction

and dignity that
NO. 46J

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
attractive in
fulness.
its
it is

not especially

suggestion of youth-

;

72

WHAT
No.

DRESS MAKES OF US

47, with a line at the neck-

band, crossed bands in the centre
of

the

shoulders,

and

lines
is

across the back,
inartistic.

obviously

The back

of a Venus,

even, would be detract-

ed from by such
crossed effects.

criss-

Happy
has so

the
NO. 47

woman who

shapely a back she can
to

afford

allow

her waist to

fit

smoothly and

plainly,

unbroken by
If

any conspicuous

lines.

bands
de-

must be used
ficiencies
let

to

remedy the

of

ungenerous Nature,
at the
is

them be
if

neck and waist
unconscionably
fold,

and

the back a band,

long,

or

or ruffle

PLUMP AND THIN BACKS
across the shoulders
is

n
com-

to be

mended.
No. 48 reveals a glaring error
frequently

made by
tall,

the thin sister-

hood.

A

slender

woman

with

a long waist, should not emphasize

her

length

of

lines

by wearing
effects.

"^^

pointed or V-shaped

The
in
NO. 48

V-shaped arrangement, either
cut or trimmings,

apparently

in-

creases
ness."

her

*'

longness and

lean-

She should aim

to shorten
it

her waist instead of lengthening

as the basque finished with a point

obviously

does.

The

drooping

sleeves elongate her shoulder-lines,

and bring

into

clearer relief

her
eas-

meagre proportions.
ily

She can

improve

her

appearance

by

74

WHAT

DRESS MAKES OF US

adopting either style of gown portrayed by

Nos. 49, or

50.

The

broad belt
line in

at the waist49,

No.

and the

flamboyant lace or braid-

ed piece that adorns the
shoulders, perceptibly

adds to her breadth and
decreases her length.

No. 50
NO. 49

is

a felicitous

cut for a street dress for

a slim

sister.

The jaunty
smartly

bloused waist

conceals deficiencies in
fine points.

NO. 50

The tall, thin sisterhood should eschew pointed effects and

Study to attain apparent breadth

PLUMP AND THIN

BACiCS

75
hori-

by using trimmings arranged
zontally.

Bands

of velvet, braid in

waved

lines,

ruffles,

and not too deeply
cut scallops,

may be
who
^^

used effectively by ^^/^
the very slender,

sometimes appear as
if

they are

**

without

form and void," as the earth was
*'

in

the beginning."
is

No. 51

an exposition of the
sister-

mistake made by the sturdy

hood

of stout
It

and pendulous prois

portions.

plain to be seen

that the fluffy ruche at the throat-

band, and the

ruffle at

the shoulder,
at the waist,

and the spreading bow

and the trimmed

sleeves,

add bulk-

76

WHAT

DRESS MAKES OF US

iness to a

form already too gener-

ously
ity.

endowed with flabby rotund-

Corpulent

women must
-iir^.

forego

NO. 53

NO. 53

the swagger

little

basques or any

sort of short, flounced effects

below

the waist-line.

Nos. 52 and 53 are eminently

adapted to the matron of ample
dimensions.

One

observer

of

beauty-giving effects has not un-

PLUMP AND THIN BACKS
advisedly called the waist-line
danger-line."
all
''

"]"]

the

A

stout sister, above

others, should

not accentuate

the waist-line.
it

She should conceal

as

much

as possible.

The

coat

back of No. 52 apparently lengthens the waist.

The same
53,

effect

is

produced by

the arrangement of ribbons in No.

and by the long-pointed basque.
effects

V-shaped

and long-pointed
as they are

basques are as becoming to those

burdened with

flesh
tall,

unbecoming
ies are

to

thin

women.

Long, graceful folds and draperadmirable for the stout
sis-

terhood,

who should avoid

short

sacques and tight-fitting garments
that give the on-looker an

uncom-

78

WHAT

DRESS MAKES OF US
;

fortable impression

there

is

too
light

much
colors

in

a small space.

Very

and thin textures that billow
should be eschewed by

and
to

float

the large, fleshy

woman who wishes

give the impression that she

possesses the lines of a finely modelled
puff's

statue.

She should avoid

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
bust, or
tal

across

or above the

below the

hips.

Horizon-

lines
;

invariably

decrease the

height

for that reason stout

wo-

men

should not wear dresses cut
in

square

the neck, but should ad-

here to the graceful V- or heart-

PLUMP AND THIN BACKS

79

shaped cut which has a tendency
to give length.

The rotund woman

with a short

NO. 54

NO. 55

waist, sketched in

No.

54,

may
in

im-

prove her
55,

figure, as

shown

No.

by choosing behs and

collars

the exact shade of her shirt-waists
in

summer, and by not cutting
on winter gowns.

off

her height by any sort of outside
belt

Tall, stout

women

should forego

8o

WHAT

DRESS MAKES OF US

high heels on their shoes, high hats,

and

Striped

dresses.

Although

stripes increase the effect of height,

NO. 56

they also add to that of breadth.

A

plain cloth basque

and
a

skirt of

striped

material

make

happy-

compromise and can be worn with

becoming

effect

by a stout woman.

1

PLUMP AND THIN BACKS

8

A

basque cut high behind and on
shoulders

the

apparently

gives

height.

A very stout woman should never
wear double
skirts

or

tunics

or

dresses with large sprawling patterns,
56,

such as depicted by cut No.
stuffs.

which suggests furniture
large

A
for

woman who had
floral

a fancy

wearing rich brocades figured
designs was

with immense
familiarly called
**

by her kind friends

the escaped sofa."

White, or very light colors, should
never be worn by the stout
;

they

greatly increase the apparent size.

Large plaids should
chewed.
6

also

be

es-

Small checks and plaids

may sometimes

be becoming.

82

WHAT

DRESS MAKES OF US

Neither the too thin nor the too
stout should adopt a style of

gown

that caricatures the form as does

NOS. 57

AND

58

the voluminous wrapper, finished

with a box-pleat, as shown in No.
57.
lines.

There
No.

is

no grace

in straight

58,

which accentuates

PLUMP AND THIN BACKS
the height of the
over-tall,

83
thin

woman,

is

better adapted

to enof

hance the charms of a
finer proportions.

woman

The bony and

scrawny, of the type of No. 58, seem
to

have a perverse desire to wear
their poverty in physi-

what makes
cal

charms only more conspicuous.
of distinction in Boston,
tall,

A woman
who
is

exceedingly thin and

wore Watteau pleats so frequently,
even on
reception

and

evening

gowns

that she

was dubbed by a
which

wag "the

fire-escape," a title

so strikingly characterized her style,
that the term

was adopted by

all

her friends

when they exchanged
with the Watteau

confidences concerning her.

The garment

84

WHAT
is

DRESS MAKES OF US

pleat

not unlike the princesse
is

gown which

a very trying style

except to handsomely pro-

portioned women.

A tall,
sketch

well-developed woman,
such as shown
in

No.
cesse
it

59,

adorns the prinattains in

gown and

a statuesque beauty.

In

suggesting statuary
fils

it ful-

the true ideal of dress,

which should hint of poe,

art, sculpture,

painting.

The massing
the
lines,
NO. 59

of colors,

arrangement of
the quality of the

textures,

grace
not
?

and poise of the wearer

—do

these hint of picture, statue, music

CHAPTER

V.

CORSAGES APPROPRIATE FOR

WOMEN

WITH UNBEAUTIFULLY MODELLED THROATS AND SHOULDERS.

DESPITE
lief
is

the traditional be-

that a decollete corsage

a tyrannous necessity of evening

dress, a

woman

not graciously en-

dowed with a

beautifully modelled

throat and shoulders may, with perfect propriety, conceal

her

infelici-

tous lines from the derisive gaze
of a critical public.
85

86

WHAT

DRESS MAKES OF US

Women are Indebted to that gentle genius,

La Duse,

for the sug-

gestion that a veiled throat

and

bust

may charmingly

fulfil

the re-

quirements 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 knowl-

edge that a low-necked gown
absolutely decorous.

is

The woman who does
sess delicate personal

not pos-

charms com-

mends

herself to the beauty-loving
to expose her physi-

by forbearing

cal deficiencies.

Unless

it

is

be-

cause they are enslaved by custom,
it

is

quite

incomprehensible

why

some women

will glaringly display

CORSAGES

87
signally

gaunt

proportions

that

lack the exquisite lines of firm
solid flesh.

and

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.

The

unattractive

exhibition
is

of

shoulders, pictured in No. 61,

a

familiar sight in the social world.

How

insufferably ugly such uncov-

ered anatomy appears in the scenery of a rich and dainty music-

room may be
those

readily imagined

by
the
'

who have been spared
It is

no. 61

unpleasing display.

so obvi-

88

WHAT

DRESS MAKES OF US

ous that shoulders Hke these should
always be covered that
superfluous
to
it

seems
this

remark that

type should never wear any sleeve
that
falls

below the shoulder-line.

The
off

sleeve

falling

the shoulder was
clas-

invented for the
sic

contour, set forth

in

No.

62.

Nor
lace,

rib-

bons,

nor

nor
to

jewel are needed

enhance

the

perfect

beauty of a
der,
NO. 63

fine, slen-

white throat, and
felicitous

the

curves

of sloping shoulders.

One whose

individual

endow-

ments are as meagre

as are those

CORSAGES
presented
In

89

No. 61

may Improve
sketches Nos.

her defects by adopting either style
of corsage,

shown

in

63 and 64.

A

woman's throat may lack a
and her

certain desirable roundness,

shoulders
lines,

may

recede in awkward
defect-

and yet between these

ive features the curves

may have
and

a not unpleasing

daintiness

delicacy in modelling that can be

advantageously revealed.
ish velvet throat-band,

A

modis

such as

shown by No.

63,

is

one of the
fashion.

most graceful conceits of

The

too slim throat encircled by

velvet or ornamented with a jewelled buckle or

brooch

is

effectively

framed.

The unsightly lines

of the

90

WHAT

DRESS MAKES OF US
are

shoulders

covered,

and

just
is

enough

individual

robustness

disclosed to suggest with

becoming
of

propriety the
lete

conventional decol-

corsage.

The

Princess

NO. 63

NO. 64

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 un-

adorned by one or the other of

CORSAGES

91

these beautiful bands that so cleverly conceal defects

and seem to
bare

bring out more richly the texture

and coloring of handsome
shoulders.

Those who do not approve

of

the decollete style of dress, or whose

ungraceful proportions might well

be

entirely

concealed,

can wear

with appropriateness and benefit
the

corsage

shown
in Its

In

No.

64.

This has much
slender body.

favor for a
part of
chiffon

the waist

The upper may be made of
is

or crepe, which

beautifully

might say benignly
It

—one

translucent.

has an insinuating transparency

that neither reveals

nor conceals

too much.

The neck-band of velvet

92

WHAT

DRESS MAKES OF US

or satin,

full

and

soft,

apparently
sleeves
in cut

enlarges the throat.

The

may be
prevails.

In

whatever style

This

costume

carries

perfectly into

effect

the require-

ments of evening
be

dress,

and may
fitness

worn with
functions

equal
or
to

to

formal
affairs.

informal
of
lace,

A
or

coat -sleeve
chiffon,

crepe,

beflounced

at

the wrist,

may be

inserted under

the short satin sleeves

when the

occasion does not require gloves.

The
ders

soft,

white setting of thin tex-

tures around the throat
clears

and shoul-

the

complexion and

brings into relief the pretty, delicate
lines of a refined face.
It is plain to

be seen that the un-

CORSAGES

93

attractive specimen of femininity,

No. neck
ly

65.,

with the
sharpface
is

long, wrinkled

and

lined

unbecomingly

cos-

tumed

in

the V-

shaped basque and
corsage which apparently

elongate
lankNOS. 65

her natural
ness.

A charming

AND

66

and always fashionable yoke-effect
that she can wear to advantage
is

shown by No.
corsage
is

66.

This style of

equally effective for a

too thin or a too muscular neck.

The

filling is of tulle.

A

square-cut

corsage

is

most

becoming to

the

woman whose

94

WHAT

DRESS MAKES OF US

narrow

shoulders

have

a

con-

sumptive droop.

The
their

angular cut

apparently heightens the shoulders

and decreases
like inclination.
if
it

too

steeplecut,

The round
full

frames a
effective

throat,

is

also

an

style

for

sloping
cut
is

shoulders.

The V-shaped

most becominor

to the short-necked to

woman, whose aim should be
It

increase the lenoth of her throat.
is

not

only

the
to

too

thin

neck

that

needs

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 lieshy

woman, and

it is

to her advanta^i^e

CORSAGES
to give

95

them

as effective a setting

as possible.

As
stout

is

obvious

in

No.

67,

the

woman

apparently increases

NO. 68

NO. 67

her breadth by wearing a flam-

boyant corsage, and she hides the

most exquisite
her sleeves.

lines of

her arm with

The
No.

princesse style of gown, in

68, gives

her apparent length

96

WHAT

DRESS MAKES OF US

of waist.

The modest

lace flounce

that falls in vertical folds decreases

her formidable corsage.

The knotfull

ted twist of silk reveals the

beauty of her arm.
In dressing the throat there are

a few rules to be remembered.
too long, stem-like neck

A

may be
band
band
of of

apparently shortened by a standing ruff or a
velvet.
full,

soft

The

tight,

plain

velvet should

never be worn by

a
as
NO. 70

woman
is

with a very slim neck,

plainly discernible in sketch
69.
plain, military collar

No.

The

emphaslender
soft

sizes the thinness of the

woman's

throat

;

but

the

crushed fold of velvet apparently

CORSAGES

97

enlarges the pipe-like proportions
of the thin

woman's neck,
sketch No.

as

be seen

in

70.

may The

>^->'*%

tight-fitting collar

should not be

worn by the corpulent woman with
a thick neck, as
is

shown by sketch
the throat of
in

NO. 71

No.

71.

The thickness of the woman pictured
seem due

No. 72

may

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.

All the sisterhood,

stout,

thin,
NO. 72

long - throated, or short,

— should

know
soft,

the hour

when

the withering

touch of age begins to shrink the

round curves distinctive of the


98
full,

WHAT

DRESS MAKES OF US

sweet throat of healthful youth.
regretful vanity should be al-

No

lowed to glamour their eyes to the
fact that

Time has them by
it

the

throat, to put

melodramatically.
will

The

wise

woman
it is

not please

herself with a fatal delusion.
will realize

She
any

illusion she

needs

yards of

it

lace or velvet, or

beautifying texture that will conceal the deadly lines of age.

CHAPTER
WOMEN.

VI.

HINTS ON DRESS FOR ELDERLY

F^RESS 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
99

lOO

WHAT

DRESS MAKES OF US

ladles,

neither

emphasizing their

years nor making them appear too
frivolously
attired.

There

is

a

smack

of truth in the

maxim,

As
and

a woman grows old the dress material should increase in richness
decrease in brightness.

Handsome
silks,

brocades,

soft,

elegant

wool-

len textures,

and velvets are emiand becoming to
are growing old.

nently suitable

women who

Black, and black-and-white, soft

white chiffon veiled
meres,

in lace, cash-

and

such

refined

tissues
in

should be selected by those
''

the

first

wrinkles

of

youth."

Grays combined with filmy white
material,
dull

bronzes
lace,

lightened
are
also

with cream -tinted

DRESS FOR ELDERLY

WOMEN

lOl

charmingly appropriate.
veiled in chiffon
is

Pale blue

another grateful

combination.

it

White should be worn more than is by old ladies. It is so sugall
;

gestive of

that
if

is

clean, bright,
is

and dainty and

there

anything
in

an old lady should strive to be
her personal appearance
Exquisite cleanliness
is
it is

dainty.

one of the
at-

most necessary attributes of
tractive old age,

and any texture and color emof
cleanliness

that

in its

quality

phasizes the

idea

should
their "

commend
old

itself to

those in

advanced youth."
thin

Little

women, large

ones too, for that matter,

who

are

wrinkled and colorless, should not

I02

WHAT

DRESS MAKES OF US

wear

diamonds.

The

dazzling

white gems with

pitiless brilliancy

bring out the pasty look of the skin.

The

soft

glow of

pearls, the cloud-

like effects of the opal, the

unob-

trusive

lights

of

the

moonstone

harmonize with the

tints of hair

and skin of the aged.
Elderly

women

should not wear

bright flowers on their bonnets or
hats.

Fresh-looking roses above a
its first

face that has lost

youthful-

ness

only

make

that

fact

more

obvious.

Forget-me-nots, mignonpretty white flowers,

ettes, certain

the palest of pink roses, or the

most
with

delicate tint of yellow veiled
lace

are

not

inappropriate

for those

who do

not enjoy wear-


DRESS FOR ELDERLY
Ing

WOMEN
and

I03
hats
rich,
in-

sombre

bonnets

which are composed only of
black textures.

Lace cleverly

termingled with velvet and jewelled

ornaments of

dull, rich

shades are

exceedingly effective on the head-

gear of the

old.

Those who
and indeed
old
all

are gray-haired

women as

they grow
their
chins.

—should

wear red above

brows instead of under their

A

glint of rich cardinal velvet, or a

rosette of
hair
is

the same against gray

beautiful.
!

Lace

Lace

!

Lace

!

and
Lace

still

more
more

lace for the old.

is

an

essential to the dress

of a woman

than

forty years
yokes,

of

age.

Jabots,

ruches,

cascades,

I04
vests,

WHAT

DRESS MAKES OF US
lace,

and gowns of
all

black or

white, are

for

the old.

Rich

lace has an
effect

exquisitely

softening

on the complexion.

Thin
should

women
the swathe,

with necks that look like
of

strings

a

violin

smother,

decorate,

and
the
airy

adorn their throats with lace or

gossamer

fabrics

that

have

same
can

quality as lace.

These

textures, in

which

light

and shadow
subdue

so

beautifully

shift,

roughnesses of the skin and harshness in
is

lines.

Old

Dame

Nature

the prime teacher of these beartifices.

witching
effects

Note her

fine

with mists

and cobwebs,

with lace-like moss on sturdy old
oaks, the

bloom on the peach and

DRESS FOR ELDERLY
the grape.

WOMEN

IO5

Nature produces her
colorings

most
dust

enchanting

with

and

age.

Laces,

gauzes,

mulls, chiffons, net,

and gossamer and

throw the same beautiful glamour
over the face and they are
fit

charming accompaniments of gray
hair,

which

is

a wonderful softener

of defective complexions
facial lines.

and hard
written
in

Too much cannot be

upon the proper arrangement
the neck-gear of the aged.
disfiofurinof

wrinkles
unsightly

that

The make
kept

many necks
in

may be
in

obeyance by massaging.

No
neckit

matter what the fashion
gear, the
suit

aged must modify
needs.

to

their

An

old

lady

I06

WHAT

DRESS MAKES OF US

with a thin, pipe-stem neck should

adopt a

full

ruche and
I

fluffy, soft

collar-bands.

cannot
tulle

forbear
as

repeating

that

as light

thistle bubbles, either

white or gray

or black,
thin,

is

exquisitely effective for

scrawny necks.

The

fleshy,

red neck should be softened with

powder and
net.

discreetly

veiled

in

chemisettes of chiffon and delicate

Old
hour

ladies

may keep
is

in

the style,

thus being
;

in
it

the picture of the

but

one of the divine
it

privileges of age that
its

can

make

own modes.

Absolute

cleanli-

ness, cleanliness as exacting as that

proper nurses prescribe for babies,
is

the

first

and most important

fac-

DRESS FOR ELDERLY
tor in

WOMEN

I07

making old age

attractive.

Rich

dress, In artistic

colors, soft,
;

misty, esthetic,

comes next
and

then

the IdeaHzIng scarfs, collars, jabots,

and

fichus of lace

tulles.

Old

people becomingly and
attired

artistically

have the charm of rare old
If

pictures.

they have soul-illum-

ined faces they are precious masterpieces.

CHAPTER

VII.

HOW MEN CARICATURE THEMSELVES
WITH THEIR CLOTHES.

ALTHOUGH
man
ties

In

the dress of

there are fewer possibili-

of caricature than in that of
yet,
"
''

woman,
creation
in

the masterpieces of

frequently

exaggerate

a laughable

pitiable

— way,

—and
by an
io8

sometimes a
physical
injudicious

certain

characteristics

choice of clothes.

;

CARICATURES

IO9

As
of

the fashion in

hair-dressing

does not grant

man

the

privilege
;

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
tulle,

or
or

scrawny throat with airy

dainty lace, that arch-idealizer of
pasty-looking faces
;

and as he has
garments

forsworn

soft,

trailing

that conceal unclassic curves

and
it

uninspiring lines of nether limbs,

behooves him to be more exactingly particular even than
in

woman

the selection of his wearing ap-

parel.

no WHAT
Far be
tions
it

DRESS MAKES OF US

from me, however, to
his

remind man of

many

limita-

in

dress.

That he can
bonnet,
**

never

know

the rapture of donning
spring

a becoming

nor
real

the pleasure of possessing
lace "
things,

nor

the

sensuous
in ca-

charm of being enwrapped
ments
as exquisite
in

ressing furs, or sleazy, silken garcolor

and

texture as beautiful, fresh flowers,

only delicate consideration for his
feelings constrains
tiating
I

me from

expa-

upon

at length.

would rather be able to remind
that he can

him
to

make
in

his limita-

tions his advantages, than reveal

him what he misses

not being

a woman.

1

CARICATURES

1 1

To

treat of this important sub-

ject adequately

and convincingly,
masterly

one would require the
discernment of a
plished
tailor,

skillful

and accom-

the

experienced

knowledge of a well-dressed man, and the
alertly critical perception

of a loving

woman who, even in
to her, to

the

matter of clothes, wishes the dearest of

men

do

full justice

to himself and her ideal of
all

him on

occasions.

Although certain of the foregoing qualifications must needs be
lacking, nevertheless this timorous

pen, with

more

trepidation than

courage

it

must be confessed, begs

to call attention to a few obvious
details in masculine attire that car-

112

WHAT

DRESS MAKES OF US
less,

icature,
in

more or
forms

peculiarities

the

and

features

of

men.

To be sure,
gear

in

the matter of head-

man

is

not conspicuously at

the mercy of burlesquing ribbons,
flowers,

and

feathers,

and he has
than

fewer opportunities
to

women

make

himself ridiculous, yet a

few suggestions regarding certain
shapes of head-gear
for

certain

types of faces, applicable to

women

are equally applicable to him.

The same rule that applies to the woman 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
It
is

76.

obvious that the youth de-

CARICATURES

II3

picted 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
NO. 75

more frequently

in

straw than in
effect of

any other texture, but the
a wide, projecting rim
in
is

the same
it is

any material.

No.

76,

plain,

improves the

appearance of the

long, slim-faced

man.

An

alpine

hat would not be unbecoming to
him, the
h'lQ-h

oval

of the

crown
^^

forming a balance for
part of the face.

the lower ^^^^'
''°-

The man
that will not

with a pugilistic chin

should endeavor to select a hat

make

his

heavy jaw

114

WHAT

DRESS MAKES OF US
stiff

as prominent as does the
in

derby,

No.

"]"].

A

soft alpine hat, or

one someimproves

what of the style of No.
his appearance.

"j^,

The high crown
rolling

and wide, gracefully
counter-balance
NO. 77

brim

the

weight

and

prominence of the jaw.

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 sus-

taining thing

we know, something
fasten to,

we can hang to,
tie to.
NO. 78

and even
but-

That properly placed

tons contribute to our mental poise

and therefore
pose,
is

to our physical rein

hinted
story,

that absurdly

engaging

anent the smart

CARICATURES

II5
his spell-

boy who was the envy of
ing-class,
first.

because he always stood
doubt,

You remember, no

that an envious but keen-eyed class-

mate observed that the smart speller

worked

off his

nervous apprehen-

siveness by twirling the top button
of his coat as he correctly spelled

word
out
;

after word,

day

in

and day

and how the keen-eyed one
villain

played the part of a stealthy

and surreptitiously cut the button
off

the coat.

And do you rememending?

ber the dramatic

How

the smart one on the fatal day

sought to ''press the button" and
finding
pletely
it

gone, lost his wits comfailed

and
of us

ignominously

?

Many

when we have

lost a

Il6

WHAT

DRESS MAKES OF US

sustaining button, have
as ridiculously

we

not

felt

helpless

and

wit?

benumbed

as the smart speller

We

all

sub-consciously acknowl-

edge our dependence upon buttons, but not

many of

us, evidently,

have observed that even buttons
have a certain possibility of
ture in
carica-

them
or
of

;

and that they may
ap-

add

to,

detract from, the

pearance
NO. 79

manly forms.
of

The
you,

consideration

properly placed
trivial to

buttons

may seem
you
will

but

if

observe sketches

Nos. 79 and 80, you
that a thin

may discern man may apparently
to his figure,

increase his breadth and add a certain

manly touch

by

changing the buttons

at the waist-

CARICATURES
line

llj
buttons

of

his

coat.

The

placed so near together, in No. 79,
really

make
too

his toothpick propor-

tions

obvious.

His back

is

made
in

to look broader

by placing

the buttons wider apart, as shown

No.

80,

and changing the cut

of his coat-tail.

That the
sent a

fat

man may

also prehis
no. 80

more

attractive

back to

enemies by considering the placing
of
his

buttons,

may be
81

seen in
82.

drawings
buttons

Nos.

and
No.

The
are
in-

decorating

81

placed so
crease
in

far apart that

they

an

ungainly

way the

breadth of the back at the waistline.

If

they are placed nearer

together,

and the seams graduated

Il8
to

WHAT

DRESS MAKES OF US
illusion

meet them, they give the

of better

and more desirable pro-

portions, as
82.

may be

seen in No.

NO. 81

NO. 82

That the
sent a

thin

man may
is

also pre-

more imposing and broader
suggested
in

front to the world,

sketches Nos. 83 and 84.

The con-

tracted look of the coat in No. 83

CARICATURES
IS

119

somewhat due

to the buttons

of his double-breasted coat being

placed too closely together.

The

NO. 83

NO. 84

slender

man who
may have
placed

wishes to give

the

impression

of

being broad-

chested
his

the buttons on

coat

a

little

farther

I20

WHAT

DRESS MAKES OF US

apart than fashion

Q
<^|

shown
tions

in

sketch 84.

may allow, as The proporby a

may be

easily preserved

careful adjustment of the shoulder-

seams and the seams under the
arms.

The
"a
NO. 85

waist-line
"

is

not so

much

danefer line

to

man
If

as to wo-

man, yet man should not wholly
ignore his equator.

he

is

long-

waisted he can apparently balance
his proportions

by having

his skirt

shortened, as in No. 85, and his
waist-line
If

raised

the merest

bit.

he

is

too short-waisted he can

lengthen his skirt and lower his
waist-line, as

shown
in

in

No.

86.

In

the one he escapes appearing too

long and lanky

body, and in the

CARICATURES

I

2

I

Other he obscures a lack of becoming inches that tends to give him a

dumpy
If

appearance.

you study your fellow-men you rf^
observe that few are really per-

will

fectly proportioned.

One man
one
will

will

have the body of a viking on the
legs of a dwarf, or

have

the legs of an Apollo supporting

the short body of a pigmy.

The

^^^ gg

man who
broad
in

has a kingly body, too
proportion to his legs, as
sketch No. 87, should en-

shown
fect

in

deavor to modify his physical de-

by the

careful selection of his

coats.

He

should have his coats

cut to give

him

as

much

length of
tailor

leg as possible.
will

A

skilful

know

just

what subtle changes

122

WHAT

DRESS MAKES OF US

and adjustments to make.

The

improvement
gain in height
88.

in
is

appearance and
pictured in sketch

The

coat being shorter and
of

the waist
raised a

the trousers being

trifle,

the man's limbs seem
is

longer, which

an improvement.
to give elegance

Long Hnes tend
and grace
in

bearing.

Another

thing for the too robust type of

man
must

to consider

is

the style of his

trousers.

No. Sy hints what he

not choose.

Such brazen
offen-

plaids only

make him appear
in
size.

sively aggressive
fine lines,

Long,
No.
88,

such as shown

in

give an impression of length and

apparently lessen the width.

Too

long

lines,

however,

are

CARICATURES

1

23

almost as undesirable as too short
ones.
Over-tall,

thin

men somelike
flagstaffs

times

make themselves look
or

telegraph poles

by
in

wearing short coats that expose
a graceless
of

way the whole length their limbs. They suggest cranes
of

and other fowl that give the impression

being

" all

legs."

When
more
a
lead

the legs are proportioned
like

a stick of macaroni or than
the shapely
NO.

pencil

limbs of an Adonis, they appear exceedingly funny

when surmounted
such as pictured
in in

by a short
No.
Civil
89.

coat,

A

famous general

the

War

did not despise cotton as

a fortification to protect him from
the onslaught of the enemy.

The

124

WHAT

DRESS MAKES OF US

over-tall, thin

man, who

is

not un-

suggestive of a picket, should not

be ashamed to

fortify himself

with

cotton or any other sort of padding
that
stock.
intelligent
tailors

keep

in

He

should build his shoul-

ders up a bit and be generally, but

most carefully and
larged.

artistically, en-

His

coat

should

be

lengthened, as in sketch 90, to cut
off just as

much

of the longness of

limb as can possibly be allowed

without
No.
89

destroying

artistic
tall,

pro-

portions.

The very

thin

man
very

who

unthinkingly wears

a

short coat

should be brave and

never turn his back to his enemy.
If

he wears black and white check

trousers and a short blue coat, he

CARICATURES
should
travel

1

25

with a screen.

A

man

in just

such a rig attracted no
in

end of comment
hotel.

a fashionable

The

caricaturing effect of

his trousers

and coat were unspeak-

ably comical.
face

The wearer had
a serious-minded
;

a

as grave as an undertaker's
air of
col-

and the
lege

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.

Coats assuredly have the power
of
lar

making cartoons
cartoons

living, jocuIt
call

—of their wearers.
man

would hardly seem necessary to
attention to the fact that a

of

126

WHAT

DRESS MAKES OF US

huge dimensions should not wear
a
short
coat,

such as shown
is

in

sketch No. 91, yet his type

too

frequently seen attired in this style.

A

man

so dressed certainly seems
of the

the living exemplification
definition
of

a

jug, namely,

"a

vessel usually with a swelling belly,

narrow mouth, and a handle, for
holding liquors."
It

cannot be

re-

iterated too often that a large, stout

man should aim
distinction

to

acquire the

and dignity given by
If

long

lines.

his

body

is

pro-

portioned 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 what-

ever artistic

way he

can.

The

CARICATURES
long coat, as

127
in

may be
it

seen

sketch

No. 92, not only apparently adds
length

but

con-

ceals too protuberant

curves.

Of

course, characfor

ter counts

more
will

than clothes,
all

we

agree to that, but
NOS. 91

AND 92

at first glance

it is

a

man's clothes that impress people.
Clothes affect our behavior somewhat.

For

instance,

''

When

the

young European emigrant,
time a
more.

after a
first

summer's labor puts on for the

new

coat,

he puts on much

His good and becoming

clothes put

him on thinking that he
like

must behave

people

who

are

128

WHAT
;

DRESS MAKES OF US

SO dressed and silently and steadily
his

behavior mends."
is

Of
in

course,

there

an uplifting truth

George

Herbert's maxim, " This coat with

my am

discretion will be brave," yet,

I

inclined to think that the ma-

jority of

men who
a

will stop to con-

sider will agree with
says,
''

Emerson, who

If

man

has not firm nerves
it

and has keen

sensibility,

is

per-

haps a wise economy to go to a

good shop and dress himself
proachably.
all

irre-

He

can then dismiss

care from his mind, and

may

easily find that

performance an ad-

dition of confidence, a fortification

that turns the scale in social encounters,

and allows him to go

gayly into conversations where else

"

CARICATURES

1

29

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 in-

ward

tranquillity

which religion

is

powerless to bestow.'

A

popular clothier

in

New York,

understanding

this trait of his fel-

low-men, voices this same sentiment
in his

advertisement
**

in this succinct

way:

Seriously now.

Have you
if

ever stopped to think that

you

wear good clothing

it

adds much

to that independent, easy feeling

you should have when you come
in contact
I

with other
it

men

"
?

think

was Lord Chesterfield

130

WHAT
said
:

DRESS MAKES OF US
**

who

A man

is

received acdis-

cording to his appearance, and

missed according to his merits."

There
would
if

is

a bit of truth
admit,
I

in this

we

all

have no doubt,

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

gar-

ments, after
in

we have

noticed

them

a superficial

way, are chiefly

interesting to us, because they are

arch-betrayers of the physical and

mental poise of the man.
ter

No matno

what the cut

of the cloth,

matter what cachet of a fashionable

CARICATURES
tailor
its

131

a suit

may

have,

or what the
atti-

richness of material,
*'

tude

a la decadence

"

of No. 93
in

would make the best clothes
attractive.

Christendom look shabby and unThis 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

NO. 93

prophets, so those

who

stand

*'

a la

decadence

"

might see what

ridicu-

lous figures they cut in drawing-

room and street.

The curved backs
and the
respect-

and rounded-out shoulders would

make
flat

fair-looking chests,

chests

would represent

able-looking backs.

A

man owes

it

to

the

spirit

a

132

WHAT

DRESS MAKES OF US

within him not to stand or walk in

such an attitude.

He should
he

brace

up and keep bracing up persistently,
unremittently, until
attains

a

more manly
in

bearing.
alive fellow pictured

The wholly
sketch

No.

94

would

make
in

homespun look
is
NO. 94

elegant.

His chest

forward.

He

does not sag

front at the waist, protruding his

abdomen

in

not only an

inartistic,
;

but an unhealthy manner

but he

strides masterfully forward with
air of inspiriting
''

an

aliveness."
is

The
not

perfect poise of his attitude

unsuggestive of the Apollo Belvedere

— the

model

for

all

men

picture of which every college

boy

should have to place beside the

CARICATURES
prettiest
girl

133

In

his

collection of

pretty

girls,

to constantly remind
like a

him to carry himself
god.

young

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