[Illustration]
"A thing should be beautiful in itself, and it should be beautiful for
you." "Good dressing includes a suggestion of poetry;" but to gain
this poetic grace careful study must be made of hair, eyes and skin,
for a dress that is beautiful in itself, or beautiful on one wearer,
may be a failure on another.
Study to "compose" your costume well; then, donning it, cease to think
of it or yourself. Lead up gently to all contrasting colors that are
introduced into a costume for linings of loose draperies, sleeves, or
as vests. Glaring contrasts, or "spotty" effects should be guarded
against. All brilliant colors in a costume should be reached gradually
like a climax in music, or a high light in a fine painting. Otherwise
there is a jar, and the harmony of relation is broken.
Complexion Determines Dress Colors.
Sometimes a color used sparingly in a knot of ribbon, or glimpsed as a
lining, is becoming, while the same color, used in quantity, or as a
ground color of the costume, might prove inharmonious with the
complexion.
It is well for every woman to choose a certain proved range of colors
that she _can_ bear, and to venture cautiously or seldom on new
experiments. These colors will be found like a musical scale, to
harmonize well in almost any combination. Thus beauty, convenience and
economy are all consulted by loyalty to these proved shades.
Endless arrangements might be suggested on the economical side of the
question. The light evening silk of the season before may be used for
lining or form the long loose front of the tea-gown of the present.
The rich draperies of last year's carriage gown may fitly furnish
forth the natty velvet vest and dainty bonnet to wear with this year's
street suit, and nothing be lost.
One more caution as to colors. The very delicate blonde who has
reveled in palest, daintiest shades must beware of presuming too long
on that evanescent bloom, lest she find herself basing the color of
her dress on a flower that faded years ago. Or else, maybe, on one
that has unfolded into a richer bloom, and by not adapting her color
scale to the changes of time, she loses all the beauty of the present.
Another mistake women make is to forget that lovely childish curves of
early youth change with the advancing years and the babyish style of
dressing, so becoming then, may be worn too long. The rounded throat
of the plump woman becomes muscular all too soon, and the delicate
throat of the slender woman is too prone to lose its soft outlines.
The changes of color that occur almost always in cool, pale blondes
are often but changes in beauty; still, these changes in complexion
must be met with changes in dress.
Combinations of Color.
"A secret of artistic dressing is to match the hair as nearly as
possible for day and the eyes for evening."
"The producing of an all-over effect by drapery, veiling, and
head-gear of the same shade is most thoroughly artistic."
These two high art axioms may be given as a safe foundation for the
choice of colors, in following which no one can greatly err.
The woman of mezzo-tints, of soft half-tones of complexion, hair and
eyes, loses all color and force when she clothes herself with deep,
intense hues. Low, warm, unaggressive shades are needed as a
background to bring out all her own best points.
"Some people," says Miss Oakey, "have many possibilities of form and
color which may be brought out under special treatment, but most
people have only the one possibility which can be improved upon."
Certain women may be dressed in one set of colors that emphasize the
whiteness of their skin; and, in still another, that bring out their
own color, while others must be content with one certain range of
tints.
Red Hair, with Brown Eyes.
This type of woman may wear amber, deep lined with fawn or pale
yellowish pink; dark, rich red, like a red hollyhock; creamy-white
(creamy-white satin with pearls and old point lace); olives and dark
greens, claret, maroon, plum and gold color.
Jewels--topaz, amber, pearls and gold ornaments.
All manner of lovely combinations may be made out of these colors;
especially dark amber, approaching brown, contrasted with pale fawn or
gold color. Topazes for jewels. Sable furs and the deeper shade of
mink are exceedingly becoming, and the same colors of the fur can be
had in most dress materials. There is also a certain shade of maroon
which makes red hair a positive golden, and throws into bold relief
the clear white tint of the complexion even when there are freckles.
These same freckles are also improved by the wearing of this maroon
color.
Red Hair, with Gray or Green Eyes.
This type may wear all the above colors, adding to them all the browns
and purples. Amethysts may be worn with the grays. Grays and any of
the above greens contrast beautifully.
The Ineffective Type.
This style of woman has dull, light brown hair, no brilliancy of
complexion, usually gray or blue eyes. The type often numbers some of
our most spiritual and intellectual women, as well as, very often, our
constitutionally delicate women. It is a type very difficult to dress
effectively. The black of velvet may be worn, and soft wools relieved
by velvet or lace; creamy white, by casting reflected lights, clears
the complexion. Be careful of this however. Warm, pale pink may be
worn with it. Invisible blues and greens (in other words, very dark
shades). The palest possible pink may be combined with these as
linings, vests or ribbons. Pale pink, lined with a pink almost white;
pale, but not chalky blues. Blue should not be worn in silk, unless of
a very dull or lusterless quality.
Stylish and Appropriate Jewels.
If the eyes are blue, sapphires may be permitted (a gray sapphire is
best); pearls, the greenish turquoise, moonstones, intaglios, cameos,
antique coins.
This ineffective type frequently, because of better health, gains a
warmer glow to the skin and a richer tone to the hair. In this case
there may be added to the above colors yellow-browns, fawn-browns, and
a little lighter green, contrasted with the darker greens.
Brown-black hair, steel-gray eyes, fair skin with color in cheeks, may
wear all greens (save the very light), cream-white, fawns, grays,
browns, reds, violet, a rich pink, and all blues. If any type can wear
black with impunity, this can. For jewels, any desired stone.
Black hair, very dark eyes, golden-brown skin, warm color, brilliantly
white teeth, may wear rich browns, clarets, deep amber, cream-white,
warm pinks and flame-color. Avoid black and very pale colors. Yellow
may be worn sometimes, but with a warning here to the black-haired
type in general. A writer on color wisely says that "yellow is a color
that should be suspiciously approached with black hair. It is very
often but a vulgar contrast." For jewels, diamonds and all rich
colored precious stones.
Black Hair, Rather Sallow Skin.
This style can wear black, but it must be relieved by white laces to
soften and light up the face, thus giving the "effectness
[Transcriber's Note: effectiveness] of a drawing in black and white." Dark
grays, the dull reds occasionally. There is a peculiar yellow-red,
dusty, unluminous, very dark, that can be profitably worn. Flame-color
can be worn as linings, or trimmings, though since there is so little
color in this style, no colors seem to have a true relation to it.
Dull gold is about the only ornament that can be worn, save a delicate
onyx cameo. Flowers: white water-lilies, camellias, or the darkest,
duskiest, damask roses, and none of these in such profusion as to
appear conspicuous.
Black Hair, Clear Skin, Blue Eyes.
This beautiful combination gives a wide range of color for selection.
Blues, especially sapphire shades, dark reds, pale pink, blue grays,
white, both cream and blue-white, and black, solid and transparent.
For jewels, pearls, sapphires, opals, turquoise, diamonds. White
flowers, also violets, pansies, etc.
The woman with blue eyes should always have some blue about her. It is
really extremely interesting to notice how blue brought up close to
the throat and then a bow of the same in her hair intensifies the blue
in the eyes, making even the pale, wishy-washy orbs a deep violet.
When the blue beneath the face is too trying there must be some of the
same put in the hair or hat, as the case may be. This applies to all
colors.
Brown hair, warm brown skin, brown eyes, may wear browns, yellows,
ambers, cream-white, rich blues, tans, fawns, all reds, olive-green
and maroon; flame-color, and rose pink in small quantities. This type
can wear sharp brilliant contrasts of colors if she choose, providing
they keep within range. Black, blue, white and all cold, pale colors
are to be avoided. The jewels may be diamonds and all rich colored
stones. Brown-eyed women should wear brown for the very same reason
that the blue-eyed woman should wear blue. Not necessarily entire
brown costumes, but brown placed near enough the face to have the
desired effect.
Dark brown hair, creamy-white skin and velvety-brown eyes, this
combination is beautiful, and may wear the black of silk, or velvet
with creamy lace to relieve the face. Dark reds, purples and maroons,
peacock-green, olive-green, ambers, violet, rose pink, with pearls,
amber, topaz, ruby, garnet, diamonds.
Chestnut Hair, Fair Skin, Blue Eyes.
This type can wear almost any color, except mauve and mysterious, pale
colors. To wear yellow, she must contrast it with brown or subdued
green.
Chestnut hair, gray or green eyes: this type must be more cautious,
especially if the complexion be pale or sallow. Olive-green (not too
brown), relieved with palest pink. White contrasted with old gold.
Dark and light blues; purple with white; lilac and burnt cream mingled
(pongee is burnt cream shade). Black with yellow greens. Red in small
quantities. In almost every eye there is a touch of green. In some
cases it is the predominant color, and when that is the case green
should be worn.
Blonde, fair hair (pale gold or flaxen), blue eyes, with or without a
rose flush: this is one of the few types that can wear blue-white. All
cool, refreshing colors; cold silvery blues, pale greens, pale grays,
black, even the shiny black of satin, are all becoming. Heliotrope,
purple, cool violet, pink and lavender may be worn. It may be
mentioned here that, while there are many other colors she _can_ wear,
the cool blonde will never be better dressed than when adhering to the
colors that rightfully belong to her, and to her alone. Her style is
never more charming than when arrayed in sheer, floating, gauzy
materials. But since winter must come, silks, velvets and all wools
are at her disposal in the desired shades. Amethysts, emeralds,
sapphires and opals should be her jewels.
Almost Any Color.
The golden blonde gradually deepens in color as time passes on; she
has usually gray-green or hazel eyes, and a warm, rosy skin. It is a
type that has a wide range of color from which to choose.
Warm reds and even flame-color can be worn, but ambers, yellows and
fawns will be the more harmonious. Warm pink, too, black, brown, warm
greens, cream-white, turquoise-blue, violet, purple and warm gray.
This same type with pale, clear skin, instead of the roseate blue,
must choose very different shades. Olive-greens, all soft
yellow-greens, cream and transparent white, pale peacock and
turquoise-blues, pale amber, mauve pinks, shades of amethyst and
heliotrope are all suited to this type.
Pearls, opals, moonstones, turquoise and topaz, all flowers may be
worn, also pansies, sweet peas, and pale tinted roses.
All blondes, save the cool blonde, deepen in color as time goes on.
Let them watch for this, drop their palest tints, and adopt a few
warmer hues.
Occasionally, we see a blonde in whom this deepening process has
turned the hair to a golden brown, brought out the warm golden tints
of the skin, and with it the blue eyes. Here the mistake is often made
of ignoring the blue eyes. This should never be done. Fawns and old
golds are good for this type. Browns, deep, rich pinks, blues, all
greens but the palest, bluish grays, cream-white and pansy-purple.
Gray Hair.
Premature gray hair has a picturesque and charming effect, often
giving beauty to what might otherwise prove a commonplace countenance.
There are several types to be considered. Greenish gray hair,
premature or natural, accompanied with brown, or dark gray eyes, and a
skin in which the brownish tints prevail, can wear all dark greens and
olives, blue, browns, and dark amber, warm yellows and dark, dusky
reds, yellowish-pinks, dark blues and purple, especially the
brownish-purples, also cream-white. Gray or black is to be avoided.
This range of color will, of course, be chosen from, in accordance
with the age of the wearer. For jewels, reddish topaz, and amethyst
are beautiful for this type, and tea-roses a most effective flower.
Gray hair with a lighter, clear complexion and, perhaps, some color in
the cheeks, can wear the loveliest harmonies in grays. Black can also
be adopted and any of the first mentioned colors except brown.
A pale complexion with gray or blue and snowy hair, will be elegant in
the black of lace or velvet.
Prematurely gray with fine clear complexion, either pale or roseate,
together with blue eyes, is a magnificent type. The gray hair gives
the brilliancy of powder, and diamonds combined with turquoise can be
worn with fine effect; pearls also.
The Black Gown.
Women, as a rule, consider their wardrobe incomplete unless it
embraces at least one good black gown. "So very convenient, you know,
and suitable for so many occasions." In many respects this is very
true. But there are several points to be considered. First, there are
some types that should never wear black. Again, there are others that
must carefully discriminate between the black of velvet, wool, satin,
or lace, and the transparent black of grenadine and gauze. While to
all comes the caution that, after thirty years of age, no woman can
safely wear all black without thereby ageing her face.
Black certainly whitens the skin by contrast, but it brings out and
deepens every line. Only plump, fair, unlined faces can safely bear
the contrast.
In wearing black, the material whose tone is most becoming to the
skin, must be chosen. For instance, very few skins can bear the glossy
black of satin with its reflected lights. Black, however, may be
softened by a profusion of cream laces or jetted until it scintillates
with every motion, and for evening wear the bodice may be cut low,
thus removing it from direct contrast with the face.
Various Hints.
Blondes may, if they choose, wear yellows in harmony with their hair.
This possibility was first daringly acted upon by Worth with most
charming results.
Blue eyes can always be deepened by wearing the appropriate shade of
blue. White can be worn by women of all ages, and in almost all
materials is it becoming. For evening wear and for day wear it is most
satisfactory. Southern women make a point of dressing in it
altogether.
For evening wear, where the complexion renders it possible, a very
pretty effect is produced by wearing colors that relate or melt into
the skin tints, such as pinky browns, soft drabs, ashes of roses or
warm, creamy tints, like the heart of a tea-rose.
The Choice of Colors.
Much more lies in choosing a becoming color than people generally
imagine. There is an old story told about some celebrated man, whose
lifelong devotion to his wife was considered somewhat remarkable, as
she was a very plain woman. One of his friends asked him what had been
the first thing about her that had attracted him. He said: "A pink
shawl that was lying on the back of the chair in which she was sitting
made so pleasing a contrast to the white frock she wore that I thought
only of that, and upon asking for an introduction to her solely on
account of the pink shawl, I was then introduced to a wonderful
fascination of manner and grace of mind which have enthralled me ever
since."
A woman's surroundings of necessity play a great part in her
appearance, but it does not by any means follow that luxurious
furnishings have any more effect than the very simplest and plainest,
particularly if they do not throw out well the beauty of the coloring.
What shades of ribbon to choose, what colors to wear are far more
serious matters than the majority of people realize.
The most stunning gown in the world, if it be unbecoming, will not be
half so efficacious as the simplest and plainest of gowns of a
becoming color and cut. This is emphatically a picturesque era, and
wide latitude is allowed in the choice of what is becoming. But big
hats, big sleeves, very stand-out skirts and a general fashion-plate
air do not do for every woman, and she who has her gown made on the
simplest possible lines will create more sensation in a roomful of
very much gotten-up women than if she attempted to vie with them.
Harmony and Contrast of Colors.
The following is a list of colors which contrast and harmonize:
White contrasts with black and harmonizes with gray.
White contrasts with brown and harmonizes with buff.
White contrasts with blue and harmonizes with sky-blue.
White contrasts with purple and harmonizes with rose.
White contrasts with green and harmonizes with pea-green.
Cold greens contrast with crimson and harmonize with olive.
Cold greens contrast with purple and harmonize with citrine.
Cold greens contrast with white and harmonize with blues.
Warm greens contrast with crimson and harmonize with yellows.
Warm greens contrast with maroon and harmonize with orange.
Warm greens contrast with purple and harmonize with citrine.
Warm greens contrast with red and harmonize with sky-blue.
Warm greens contrast with pink and harmonize with gray.
Orange contrasts with purple and harmonizes with yellow.
Orange contrasts with blues and harmonizes with red.
Orange contrasts with black and harmonizes with warm green.
Orange contrasts with olive and harmonizes with warm brown.
Citrine contrasts with brown and harmonizes with green.
Citrine contrasts with crimson and harmonizes with buff.
Russet contrasts with green and harmonizes with red.
Olive contrasts with white and harmonizes with black.
Olive contrasts with maroon and harmonizes with brown.
Gold contrasts with any dark color, but looks richer with purple,
green, blue, black and brown than with the other colors. It harmonizes
with all light color, but least with yellow. The best harmony is with
white.
[Illustration]