CARDINAL RULES FOR DRESSES THAT CAMOUFLAGE SIZE
We will now assume that right corsets and slips have been acquired, that
you see and realize the possibilities of optical illusions and that a
keen desire is evident to avoid, overcome, and correct every fault that
hinders a right expression of clothes. I use the word “right” in a broad
sense, because in working to look slender in dress you will necessarily
achieve a happy degree of perfection that will prove quite as much of an
asset as the appearance of slenderness.
I know you are eager for the start to actual rules and formulas, but
first we must acquire enough “feeling” for line, color, and fabric to
use the three wisely. The most economical way to do this is to start
with what you have on hand.
REMODELING YOUR PRESENT WARDROBE
To the closet now.
Take out your big-figured dress. Every large woman owns a figured dress
of some kind. There is something different about you if you haven’t one.
I don’t know why, but evidently we all have felt that we might get lost
in the expanse of the pattern and become less conspicuous.
Take time to put this figured dress on so that you won’t get red in the
face doing it. Yes, you will find it is too short waisted; the sleeves
are too short, the neck is too high, the skirt too full. You hated to
admit that you needed a 44 pattern so used a 42 and allowed a little
extra room across the hips. (I know just how you felt, for I have done
the same thing myself).
Now survey yourself in front of the mirror.
You haven’t any goods like the dress, so you must add something to it.
For a figured dress of Georgette or silk, plain color Georgette is
suggested. See on page 73 how the sleeves are lengthened by a deep cuff,
the collar effect lowered by a scarf, the waist let down and made looser
by means of the excess material in the skirt.
[Illustration:
Here is a large-figured dress remodeled to give it length lines and a
more slender appearance. The neckline has been changed, the heavy
prominent girdle removed and a narrow belt substituted, the
waistline dropped, the sleeves lengthened and a scarf of plain
material added.
]
Next, try on that plain tailored dress that you have been planning to
rip up or give away. If it has an out of style waistline or heavily
braided revers, make up your mind to sacrifice them now—to rip apart and
to take off the revers. Consider some black satin if the dress is dark
blue, or some white piqué if white is becoming, and think of the
improvement some long, slim revers and some dainty turn-back cuffs will
make.
Take the belts or waistlines off the separate skirts that you own and
visualize how some plain boyish form brassieres as camisole tops for
these skirts will improve them, joined as shown on page 75 in either one
of the ways suggested. Your blouses may be worn over these. By this
method you may not be able to camouflage the size so readily but you can
decrease the appearance of years by a considerable amount. Isn’t it easy
to see that on page 77 the silhouette on the right is years younger than
that on the left?
Try on all the dresses you have. Consider the tightness of the waist and
the length of it. Look once again at the little figures in Chapter II
that illustrate so well the laws of optical illusion. Remember that if
you are fat in the back your dress must have some kind of a neckline
trimming or scarf collar, long and slim as on page 79. This makes a
lovely addition to any dress.
[Illustration:
Camisole tops are advantageous and will allow a skirt to appear easy
on the figure.
For wrap-around skirts always allow fulness by panels or concealed
plaits so that your skirt will not stretch unshapely when you sit.
]
After you have had this little seance with yourself in the fittings, get
out your dress form, wrap it with cotton, cloth or soft tissue paper
until it is as big as you are, put a straight line lining over it that
fits you easily and yet perfectly, then put your dresses on it. Loosen
them at the waist, ease the sleeves if necessary and work to add a
little youth, a little smartness, a little trimness by means of
additional materials used in a wholly intelligent way.
SELECTING NEW CLOTHES THAT WILL SLENDERIZE YOU
Now that we have improved the clothes on hand, let us think about the
purchase or making of new ones.
If you make your own clothes you can work out the points for yourself as
you adopt them. If you have a dressmaker, gain her cooperation. She may
not understand the principles of “optical illusion,” but she will be
delighted to have suggestions that tend to slenderize, and I am sure she
will work with you happily in carrying out the ideas and instructions
given.
[Illustration:
A shirt waist dress, when all of one color, is often becoming, but the
lines must all point downward and the waist line must be straight
and easy.
In remodeling, as you see, a new collar has been provided, the
shoulder shortened, fulness cut out at the shoulder, cuff narrowed
to allow the sleeves to be lifted, the belt opened and lined to give
ease and width.
The skirt was shortened at the top and attached to a camisole
brassiere. The fulness of the skirt was brought around and tucked to
give desired length line.
]
Before buying a new dress, suit, or wrap, study fashion pictures, dozens
of them, and try to determine how your type should express the “new” in
fashions. Choose what you like best in the new mode, cut out the
pictures from the magazines and fashion publications, go over them
carefully again and again, and determine by study and elimination what
dress and wrap will give the best result for the money spent.
As an aid in obtaining other valuable pointers, when you go into the
shops to try on new dresses, observe the saleswoman very closely.
She may not understand either what you mean by “optical illusion,” but
if you understand the principles you can get a great deal of help from
her for she will let you know at once what is out of proportion in your
figure, what there is about your shape that doesn’t correspond to their
models. She will invariably say, “I am afraid your hips are too big for
that dress,” or “We have only a few dresses that will fit you. You are
too large in the bust for that,” etc. Now, keep your disposition and
listen, then determine to go home and concentrate upon making less
conspicuous the part that strikes her as being out of proportion.
Remarkable improvements may be made in this way and the “hardened”
saleswoman can truly be of service, for she, unlike your friends, is not
inclined to flattery unless she has visions of a sale.
[Illustration:
Even in a surplice waist, length can be attained, as the illustration
shows. Sleeve trimmings should be avoided that come even with the
waist line. As you see, they give width where length is needed.
Heavy stiff trimmings are difficult and must be very smart to be
attractive. The softer, more slender the trimming, the better
usually. Skirts should be designed to be free of flare.
]
[Illustration:
Current fashions are always whimsical but back of every dress or
underneath it is a foundation that makes the skeleton of the dress.
This you must observe in every pattern you use or dress you buy. The
trimming you can vary to suit your needs in slenderness, but your
foundation lines must be suitable if you use trimming.
A variety of dresses are given, shown on the opposite page—the waist
line dress, the narrow panel front, the wide panel front, the draped
side line, and the tunic line. These represent good foundations and
are in themselves slenderizing, providing you adhere to the code of
long lines and simplicity in decoration and ornament.
]
Only careless persons can afford to buy clothes haphazardly. Even the
slender woman thinks about them and plans about them. And just consider
what a corps of helpers she has! A thousand hands to work to make modish
clothes for the perfect 36, while only a dozen in proportion are working
for us big folk! So it is easy to see why we must learn for ourselves
what we can and cannot wear, what to emphasize and subdue. “We cannot
eat our cake and have it too,” is a line familiar to us all. We can’t
enjoy our pounds unless we work to dress them so that their number is
not even surmised, let alone accurately guessed.
One clever woman I know, capable of making her own frocks and coats as
well, visits the exclusive shops, buys the most becoming, simple dress
that she finds, often paying as much as $200 for it. This she copies in
other shades and materials, developing three or four distinctly becoming
dresses at far less cost than the original gown. By averaging up she has
modestly priced frocks, all smart, in good taste, and wearable.
I have always said that if I should ever go into the dress business, it
would be to make slender dresses for big folks, and I would employ all
big women to sell them, because, as I said about our jolly big friend,
the corsetiere, she has an understanding heart, knows how difficult it
is to find dresses that have enough youth, enough value in line, and are
sufficiently becoming to us who tip the scales to any great degree. And
she would lend aid to the discouraged soul that needs to seek and try,
experiment and insist until she finds that which is becoming.
THE TRUTH ABOUT SURPLICE FRONTS
When the bust is full and the skirt length is short it is wise to use a
panel effect in the front and let the belt or waistline finish extend
around from side to side across the back, thus leaving an unbroken front
line. As a rule, the large figure looks best in a very long waistline,
but this does not apply to such proportions as these.
It is always wise for this type to beware of surplice front dresses. The
mature figure, flat in front, can wear a surplice very well and often it
serves to relieve an undesirable plainness. Many fashion artists, when
they draw full bust figures, take special pains to put in surplice
fronts, but experience will teach that it is very difficult to duplicate
in fabric the easy, smooth curve indicated by the pencil.
[Illustration:
A panel front is always more desirable than a surplice for figures
full in the bust. The seams provide a good fitting line and make
darts unnecessary.
]
Surplice fronts are as difficult for a very full bust as are plain backs
on fat shoulders. If your back is full and round, remember to use tucks,
bands, folds, plaits, or something that will definitely break the width.
Panels also help, so don’t be afraid to use them. Big backs broken in
width are far more pleasing than broad expanses that know no
termination. Remember the panel can befriend you, so keep it close but
only when it can compliment you. If your back is fat and wide looking
after you finish with this book, it is your own fault, for on page 87
you can see six simple ways of creating an optical illusion by lines
that make the back less wide in appearance.
SLEEVES FOR LARGE ARMS
If your arms are fat, don’t wear long shoulder dresses or kimono
sleeves. They just aren’t meant for you. From point of style,
becomingness, service, they will fail you all the way. On the other
hand, don’t overdo narrow shoulders. Strike a happy medium.
Upper arms that are larger than the armhole are quite common, and the
mistake is often made of fitting the armhole to the sleeve rather than
the sleeve to the armhole. Have the armhole comfortable and smooth and
set a gusset in the sleeves or increase the seams in cutting from the
armhole to the elbow.
[Illustration:
We can smile and aid our front, our back must always protect us by
being at least inoffensive and pleasing.
Here are six ways to slenderize backs of dresses. Study them, find
that which becomes you best. Once you have found your line, hold to
it, but trim or effect it differently so that there is interest and
variety. Observe Fashion illustrations carefully for backs with
interesting length lines, and don’t allow yourself to forget that
they are just as important as the front in achieving slenderness.
Remember that fulness at the hips is advisable, both as a protection
to the dress and to insure more grace in sitting. A dress that draws
up on the figure is always to be avoided.
]
I know a woman who was wearing size 44 dresses that hung on her
unattractively and heavily. She said that she couldn’t get her arms into
the sleeves of size 40 or 42 models. A wise saleswoman ripped the sleeve
seams, inserted gussets and moulded her beautifully into a tailored
frock size 40. Since then she looks 20 pounds lighter, all because of
this little adjustment.
A bias sleeve is sometimes a distinct advantage for a stout arm. Take
flannel or the heavy crêpes. A “tight as the skin” sleeve may be fitted
that has “give” enough for comfort, yet not a quarter of an inch
surplus. This type of sleeve is not suitable to flimsy materials, but
very good for the firmer fabrics and is sometimes economical for
cutting, as often the sleeve pattern can be placed on a true bias grain
to advantage.
There are many details in sleeves to consider when you want to appear
smaller than you actually are. Your success is due largely to your
knowledge and its right application. So watch, look, and listen for
every hint that will aid you in expressing perfection. It is attainable,
and every achievement will stimulate greater desire and effort.
Years ago, in fitting a well-to-do woman, who was very “heavy set” in
mind as well as in body, I remember that she would insist upon drawing
her arms up, crossing them over her ample bosom and saying that the
armhole was too tight and that more and more must be trimmed out until
her waist was unbalanced—narrower across the front than it should be,
wholly deforming the dress. No dress can be beautiful if it is out of
balance; it is contrary to every rule of right design.
[Illustration:
(Left)—A gusset at the under arm (left) is advisable when the arm is
larger than the armhole.
(Center)—Sleeves cut on the true bias, as shown, are often
advantageous when very close-fitting sleeves are desired.
(Right)—Beware of dresses that are too narrow across the chest. They
always make the bust appear larger.
]
I know one clever designer who makes for her larger customers a very
firm net foundation waist with low square neck in front and back and
close-fitting sleeves that extend almost to the elbow. In this she puts
the dress shields. This net foundation, especially the sleeve part,
protects the dress, makes it last a third longer, and has the advantage
of confining the arms slightly.
[Illustration:
Measure and find out if it is your arms or your body you “need to
treat” in slenderizing. Sometimes very large arms accompany medium
bust measurements and vice versa. Knowing this makes for a wiser use
of line.
If your arms are small in proportion to the bust, as in “A,” use a
normal shoulder line.
If they are large in proportion to your bust, as in “B,” cut the
shoulder high.
If arms and bust are large, use a length line on the sleeves, as in
“C.”
]
[Illustration:
A foundation lining of net that holds the sleeve is often advisable
for sheer dresses. Elastic should hold it at the waist. The bottom
of the sleeves and the neck may be bound or picoted.
]
SLENDERIZING FLESHY SHOULDERS
Large shoulders are a problem because they can appear quite as full as
the bust and by the roundness add years, which, of course, nobody wants.
A collar that is just right in depth, not too deep or too short in the
back, is the first essential. For your individual type, you must make
experiments. Take a piece of muslin or paper and cut out modish collars
that you think would be becoming to you. Then try them on with two
mirrors and view the back, front, and sides, examining well down past
the waistline, because the collar line and belt line must always agree.
Turn under the collar edge, add to it, and after careful observation, do
what your eye tells you is best. Never let your collar be so long as to
look like a cape unless it is a cape; and don’t let it be of a length or
size to lie up on your back like a doily on a table. Attach it—have it
there for a purpose, that of giving a correct and becoming line.
[Illustration:
Let your collar aid you. Beware of collars (like those at the left)
that widen the shoulders or that cushion the back.
Fashion often allows of back collar trimmings that are both
slenderizing and becoming, such as those at the right. Hunt for
them, then use them wisely.
]
If you are full in the back, don’t wear shoulder capes or bertha
collars. Never wear heavy collars or babyish lace or ribbon, and avoid
collars of vivid color that contrast definitely in color with that of
your dress.
DISGUISING WEIGHT FROM THE WAISTLINE DOWN
The first importance for a figure with most of the weight below the
waist is the design and trimming of the sleeves. It is a weakness in
which we must never indulge to plan for what should be graceful flowing
sleeves, but which usually turn out to be a tragedy of adding pounds to
pounds. In summer time and for evening wear, the sleeve may fit easily
but without flare and reach to a point just above the elbow, provided
there is no trimming feature or cuff. For all other types of dresses the
long, close-fitting sleeve is wisest. By adding to or taking from the
length of sleeves, emphasis may be given to any part of the body from
the hip line up, as the bottom of a sleeve is naturally a line which
will attract the eye, so that if this is in the wrong position it is
easy to imagine the result. Experiment with this feature, and convince
yourself of the truth of the statement.
Some big women have a full abdomen like a man, which causes their skirts
to hike out at the bottom like ill-fitting maternity clothes. For this
type, correct maternity line dresses are best. A bodice waist that is
long in the front should be used. The skirt is attached to this quite
low in front, then side panels are applied to give a correct balance and
to widen the figure at the side.
A variation of this figure has the full diaphragm but a flat appearance
just at the front of the hip bones. This type is recognized as difficult
to fit, although it is easily possible to conceal both points
satisfactorily.
First, the full front figure must mask its size by long collars, panels,
plaits, or some flat trimming, bringing these down so that, if possible,
they may aid the hollow sides. Here again a thorough knowledge of the
laws of optical illusion will stand you in good stead. If your skirt
still pokes out at the hem in the center front, follow the suggestion
given previously and provide a corset that laces in front and that laces
up so that the abdomen is held in, also one that is loose enough at the
waist line to allow the flesh to rest up in it. A few suggestions are
illustrated that may be applied in making a new dress or in correcting
one that you have—or in perfecting a plain dress that you might
purchase.
Oftentimes, a full abdomen has as an accomplice a sway back. For this, a
panel in the back that hangs from the shoulder and that is caught at or
below the belt line in the back is advantageous. A slightly low belt
line is also desirable.
[Illustration:
When the bust is large and the hips are small, lines as shown at the
left are becoming. A V-line in the vest may also be used if the bust
is not too high.
If the figure is large and evenly proportioned, a definite centered
lengthwise line, as shown in the second design, will break the
width.
If the waist is short and the skirt long, length lines, as at the
right, carried down on the skirt will balance better and detract
from the short waist. The neck line of this dress allows for a small
brooch or bar pin.
]
Frequently, large figures—though this is also common to slender
folk—find that the back skirt length measure is shorter than the front.
Elderly folk, especially, find this trouble where the bust has shrunken
or is small in proportion to the hips. For such types straight line
dresses with a belt line across the back, or a narrow sash belt that
ties at the side, are advisable. Long collars are also efficacious, and
scarf collars particularly so.
NECKLINES MAKE A TREMENDOUS DIFFERENCE
In order to counteract the roundness of the face, and provide some
contrast for its fullness, it is usually best to decide upon a neckline
emphasizing angles, not curves. Always have the dress cut well up at the
back but dropping down with straight lines to a deep V or square. It is
wise to have the neckline cut low and fill in the opening with sheer
Georgette, batiste or lace in an inconspicuous color, such as delicate
flesh or deep cream.
The short stout figure with a short neck and medium small head is one
type of stout that can wear a U neck or a slightly rounding neck line
becomingly. Such a neck makes the head and neck appear larger and gives
a good balance.
[Illustration:
For sway backs or figures that curve in definitely at the back
waistline, a broken panel, as at left, is often advisable. It is
especially desirable if the figure is tall or very large.
An interesting lengthwise trimming is shown in the central figure.
Such a line can be attained in contrasting or harmonizing fabric or
with embroidery tucking or plain stitching, and is adaptable to
tailored or sports clothes. Full front figures will find this line
especially advantageous.
Very wide or large figures will see merit in side panels that divide
the front in three, as shown at the right. Such a design allows for
a close-fitting foundation dress and is especially suited to older
women.
]
THE IMPORTANCE OF THESE SLENDERIZING TRIMMINGS
Think long and carefully about trimmings because a misuse of decoration
can mar the lines of an otherwise becoming gown.
Trimming, judiciously placed, will add to the appearance of smartness
and may by its position break a wide plain surface into two or perhaps
three spaces, adding with each line another point to our illusion of
slenderness.
It is essential that trimming be placed so as to emphasize length, but
do not make the mistake of applying it indiscriminately, but rather, to
draw attention to a closing, or to finish the edge of a panel or for
some similar useful purpose.
Never use a large figured trimming or a bright colored banding. Plaids,
big polka dots, pronounced stripes, heavily embroidered fabrics or “gew
gaws” are not for the big woman. Strive for distinctive line which is,
in itself, simple. Wear as good quality fabric as your purse can buy,
but be modest about your size and any decoration you employ. Quantities
of string beads are to be avoided, too, as should anything which will
make the wearer conspicuous.
Self fabrics, that is, the material of which the dress is made, is
always good. It may be tucked or plaited and inserted between cut edges,
applied as a band, or it may be used to form a cord, which in turn forms
ornament of various sizes and shapes.
Small patterned laces in the wider widths are appropriate too, and add
richness and dignity to clothes intended for dress up occasions. Lace
should never be shirred because, as I have already told you, the stout
woman can never afford to be frivolous in her dress, and ruffled lace
would certainly make her so.
Plaited panels are good, but these should always be held close to the
dress by the use of a French tuck from two to three inches long.
The groups of vertical lines are always an effective means of increasing
height while the long tab will help to keep the panel from flying out as
one walks.
Ribbon banding is effective both when stretched flat and when used to
form sash ends or ties. Such finishes must be generous in length,
otherwise they will add to, rather than detract from width.
[Illustration:
If foundation linings are used, plan them as carefully as the dress
itself. They must be easy yet fitted to perfection. They must also
be designed especially for the dress so that they will support but
not hinder the outer line at any point.
]
HELPFUL HINTS FROM A LEADING NEW YORK DESIGNER
A designer in one of the big New York houses when asked as to her
success in designing becoming dresses for large women gave these few
valuable rules:
“I never use sheer flimsy material. If I must use lace, I weight it so
that it is as heavy as any fabric.
“I never use coarse stiff material—the softer and weightier the better.
“I rarely use fabrics with luster or with big design.
“I never use pure colors. I use shades chiefly, very seldom a tint,
unless it is a cream tint. I avoid all white for my large customers. We
see enough big men dressed up in white to know how much it increases
size.
“I always make a foundation slip, smooth, sleek and close fitting. In
this I sew the sleeves. My dress is made separate and hangs easier and
straighter than it possibly could if it had the sleeves to hamper it.
Then, too, the dress lasts longer, which is a distinct advantage.
“I give special attention to my customer’s hats, shoes and corsets. All
must be right for her or my dress cannot be a success.
“Often if I find a model that is definitely becoming, I vary it in
different materials and colors, often making madam a half dozen
beautiful gowns from the one block. Why not, if it is most becoming to
her?”