DRESS
THE FIRST IMPRESSION
The two most important guides to one's personality are one's appearance
and one's manner of speech. Centuries of experience have shown that by
means of these one may almost without exception get at least a general
idea of the sort of person that lies back of them.
Dress is the most important factor in the first impression. An honest
heart may beat beneath the ragged coat, a brilliant intellect may rise
above the bright checked suit and the yellow tie, the man in the shabby
suit may be a famous writer, the girl in the untidy blouse may be an
artist of great promise but as a general rule the chances are against it
and such people are dull, flat, stale, and unprofitable both to
themselves and to other people.
Like advertising, dress should call attention not to itself but to the
person or product which it represents so that people will say, not,
"What an attractive gown!" but "What a lovely woman!" not, "What a
well-dressed man!" but, "I think I should like to know that man."
There is more room for originality, and by the same token for
freakishness in woman's dress, and therefore the greater responsibility
is hers. Her clothes should belong to her rather than merely to the era
in which she happens to be living. This means that they must be
individual but it does not mean that they should be outlandish. Again
the golden rule of the Greeks: Moderation in all things.
The attitude of a number of people is expressed in the old limerick:
As for looks I know I'm no star,
There are men better looking by far;
But my face I don't mind it
For I am behind it.
It's the folks out in front that I jar.
It is worth while now and then to think of the "folks out in front," and
pity for them, if no other feeling, should inspire one to be at all
times as well dressed as is within the compass of one's means and
ability.
MEN'S DRESS
In the morning when he goes out to business a man should wear a plain
serviceable suit of the prevailing cut. If he is invited to an elaborate
morning entertainment he may wear the regular cutaway coat and the usual
accessories that go along with it. It is always best to follow the local
customs with regard to dress and it is absurd for one man to appear at a
formal morning affair in the cutaway coat when he knows that all of the
other gentlemen present will be in their simple business suits.
For formal afternoon affairs the cutaway is worn while for dinner in the
evening full dress is prescribed as it is for any formal entertainment
which takes place after six o'clock. To informal garden parties and
other similar affairs in the afternoon during the summer, flannels may
be worn.
There are special sporting outfits designed for the man who golfs, plays
tennis, rides or motors and the best guide to all of these is a reliable
haberdasher. It is his business to keep up with the details of dress and
since these are constantly in process of change it is obviously
impossible for a book of etiquette to lay down precise rules as to what
should be worn.
If a man is to escort a woman he should adapt his costume to hers. If
she is to wear evening dress he should also, and if he is in doubt as to
whether she is to wear evening dress or a simpler costume, he should ask
her. In many cases it rests with the individual which shall be the order
of the day.
WOMEN'S DRESS
The woman who goes to business must dress inconspicuously. Clean,
freshly laundered white shirt waists with simple dark skirts form the
best of outfits. But with laundry bills at prohibitive prices, a
substitute must be found for them for the girl in moderate
circumstances. For this reason it is more sensible to wear dark serge,
silk, or satin fashioned into severely simple frocks relieved perhaps by
white linen or organdie collars and cuffs.
The woman who entertains at home in the morning wears a simple frock of
the sort in which she may appear on the street. Similarly, in the
afternoon unless the occasion is an elaborate one, when she may wear an
elegant reception gown or an informal tea, when she may wear one of the
exquisite creations especially designed for such occasions.
There is a semi-evening dress which may be worn to afternoon affairs or
to dinner and to all evening entertainments except very elaborate ones.
For these a woman's gown should be _decollete_ and should be of
beautiful material. The color and design are at the discretion of the
individual but it is well to remember that those which are simplest are
most effective.
It is trite to remark that a woman's crowning glory is her hair, but it
is true. The manner in which it is arranged should depend upon the kind
of costume she is wearing. Only in the evening should she wear heavy
bandeaux, aigrettes, etc.
Scattered about elsewhere in these volumes under the theater, etc., more
details are given as to the proper kind of dress to wear. Remember this:
it is always better to be underdressed than to be overdressed.
THE STORY OF DRESS
It is interesting to note how closely the history of dress parallels the
history of civilization. With the awakening of shame came the virtue of
modesty. With modesty came the desire for clothes, and clothes brought
thoughts of higher ideals, wider desires than those merely of the
animal. Out of the desire to cover the body grew the love of decoration,
of beauty. Slowly, through the ages, as the love of beauty advanced and
was cultivated, an artistic sense developed which is the very flower of
our civilization.
Perhaps the most effective way to tell the story of dress is to make
this very striking comparison. First let us go back to the time of the
prehistoric cave-woman. In her breast the first thought of shame has
stirred, and she makes for herself a covering--a dress. She makes it of
the skin of a newly killed animal. It is raw and ugly and unpleasant.
But the owner feels naught but pride in its ownership, for it is a good
skin, impervious alike to the ravages of sun and rain--and its style is
exactly like that of the other women in the tribe.
Now let us stand for a moment on a corner of Fifth Avenue, New York's
famous avenue of fashion. We see a modern young woman on her way to the
theater. From the tips of her French-heeled slippers to the jaunty
little hat on her head, she is--perfect. Her gown seems to express in
every line the story of her own personality. The color-scheme might well
have been invented by Mother Nature herself. The wrap she wears is of
sable furs--but how different from the furs of her sister of ancient
days! Each skin is exquisitely glossed and dressed, and the whole
matched to perfection.
Another young woman passes. She is differently attired in trig tailored
suit and smart toque. A business girl. Also perfect. And countless
others, streaming endlessly along the wide avenue, men and women,
defying in the expression of their own taste and individuality, the
decrees of fashion; interpreting silks, cottons, fabrics and furs to
harmonize with their own particular personalities, and the story of
civilization is told in the clothes they wear.
THE DAWN OF FASHION
It was Cowper who said, "While the world lasts, Fashion will lead it by
the nose." And really, hasn't Fashion been a stern monarch throughout
the ages? It commanded the Chinese women to have tiny feet--and tiny
feet they had to have although it meant months of torture to the young
child. It commanded the monstrous ruff of the Elizabethan period, and
decreed dignified wigs for the gentlemen of the Colonial days. It
decided upon the mantle of the patriarch, the toga of the Roman, the fez
of the Turk. Its endless whims and vagaries made the study of dress one
of the most curious and fascinating in the world.
How was Fashion created, you ask? To answer thoroughly, we must once
more go back to those distant cave-man days when dress itself had its
inception. At first one simple costume for both men and women
distinguished each tribe. There was nothing different in the way the
skins were thrown over the body, no embellishments to render any one
costume different from those worn by the others. Even at a relatively
late date, uniformity of dress among people of one race was like a
national characteristic; it was worn by all.
But slowly, as the tiny beam of civilization struggled onward and
upward, there came a desire for something more than merely a protection
against cold and rain. There came a very intense desire for
ornamentation and personal adornment. Thus we find men and women in
Central Africa decorating their bodies with stripes of paint, and those
who were still more "fashionable" deforming themselves with most weird
series of cicatrices on their bodies and faces. In New Guinea we find
women who do not indulge in clothing at all, ashamed to appear in public
without bracelets on their arms and legs, and ornaments on their heads.
So intense did this love of ornament grow among women, that they began
to cover their bodies with fur, feathers, shell, beads and countless
ornaments. As late as the year 400 the primitive desire for
self-adornment is evident. In that year, it is recorded that the wife of
the Emperor Honorius died, and when her grave was reopened in 1544, the
golden tissues of her shroud were melted and amounted in weight to
thirty-six pounds.
Men and women alike hesitated to think for themselves in those earlier
periods. Thus, instead of creating "styles" for themselves, they chose
the easier method of imitating what others wore--changing it just enough
to meet with their own requirements, to satisfy their own undeveloped
tastes. One tribe copied what another wore, changing it only slightly
according to whim. We find that man soon realized that the accumulation
of coverings on his body hindered him in his strenuous activities. It
was quite natural, then, that simplicity should dominate his attire,
while to woman was left the development of the decorative art.
Fashion was born--and it has remained undisputed ruler ever since.
THE FASHIONS OF TO-DAY
It is not so much in the Fashion of days gone by that we are interested,
but in the very delightful fashions of to-day. We all know that the love
of beauty is inherent in all women--just as the pride of personal
appearance is inherent in all men. It is a heritage brought down through
generations of slowly developing culture. And we find to-day that
Fashion is the means of expressing individuality.
It would indeed be a Herculean task to attempt to write a discourse on
the ever-changing dictates of Fashion, on the constant whims and
vagaries of Style. Each season brings forth striking new dress
innovations--new colorings, new draperies, new lines. What is in vogue
to-day is cast aside to-morrow as "out-of-date."
In the world of good society, dress plays an important part in the
expression of culture. There is a proper dress for afternoon wear, and
another for evening functions. There are certain costumes for the
wedding, and others for the garden fete. The gentleman wears one suit to
business, and another to dinner. Where civilization has reached its
highest point, there has dress and fashion reached its finest and most
exquisite development.
But instinct can be carried to excess. Inherent love of beauty can be so
abused that it becomes a sign of vanity. Fashion can be made a series of
fads, and style an excuse for eccentricities. It is because men and
women, and especially women, are so eager to adopt any new style
creation offered to them by the vast army of "authorities," so impatient
always for something new, new--that the dress of to-day has earned the
censure of students of sociology. "Supply the demand" has ever been the
slogan of the producers, while they strive in every way to increase the
demand.
And yet, the study of dress is a beautiful one. Women are never so
lovely as when they are dressed well. Men are never so attractive as
when their garments are faultless. There is something romantic in the
gown and veil of the bride, just as there is something delightfully
refreshing in the sight of a young girl daintily attired on a hot
Summer's day. There is poetry in dress, just as there is in a towering
cathedral or in a well-molded statue.
HARMONY IN DRESS
One of the most important, in fact, _the_ important principle of dress
is harmony. Nature itself is a glorious example of all that is
harmonious. Picture, for instance, the delicate pansy, with its soft
blend of greens and yellows and purples. Think of the exquisite
china-aster with its pale colorings of violet and pink. And the
many-hued rainbow that glorifies the sky with a sudden brilliance. How
utterly irresistible are these harmonies of Nature, and how well we can
all profit by her example!
The spirit of the modern dress seems to be more definitely centered
around "sensation" than harmony. We see sport skirts worn with
high-heeled shoes, pinks indulged in where navy blue or dark brown would
be more appropriate, elaborate motifs and decorations where simplicity
should have been. And we see women, priding themselves upon being
fashionable, wearing gowns that are pretty enough, but that on them are
completely out of harmony.
The reason for this is that so many women, and men too, accept the
dictates of Fashion without stopping to determine whether or not these
new creations are suitable to their own particular type. They do not
realize that to be fashionable does not mean to follow conscientiously
every new fad, but to adjust the prevailing style to conform with the
lines of their individual faces and forms. To illustrate: it is
ridiculous for the very slim young lady to wear a severe straight-line
frock simply because it is the fashion, but she can adapt the
straight-line effect to her own figure, and add a bit of fluffiness.
Similarly, the stout woman need not wear tremendous, voluminous ruffles
and flounces because Fashion decrees that they shall be worn, but she
may gain the desired effect by using them in moderation.
Why is it that a gown may look thoroughly beautiful on a manikin, but
have an entirely different effect when you put it on? Because you have
distinct personality, you have little peculiarities of line and
coloring that require special consideration. To select lines that
harmonize with the lines of your body, colors that harmonize with your
own coloring, and styles that harmonize with your particular type, is to
dress well and attractively. Seek harmony first--and style afterward.
IMPORTANCE OF COLOR
"White was made for brides," but that is no reason why we, all of us,
cannot enjoy it in its cool daintiness, youthful simplicity. White may
always be worn--by young and old, at party and dance, in morning and
afternoon. It is, and always will be, the ideal color.
But Fashion, in a different mood, demands many hues both soft and
brilliant. And here again, whether she dictates pale pink or vivid
scarlet, one must be guided by one's own sense of taste and harmony.
The colors of the dress must blend with the natural colors if beauty is
to be obtained. Remarkable effects, as startlingly beautiful as the
somber afterglow of the setting sun, can be obtained by the correct use
of color. It may be contrast or harmony--but there must be a perfect
blend.
To illustrate for a few individual types: the sallow-complexioned
brunette must never wear yellow, even though it is the favorite color of
the season, for it brings out more clearly the yellow lurking in the
sallowness of her cheeks. The person with "coal black" hair must avoid
blues, light and dark; the colors that most become her are crimson,
orange, dark red. Pink is the ideal color for the blond woman with warm
coloring; black for the woman with fair skin. Pink and green are for
youth; purple and black are for age. The other colors may be used
according to the artistic sense of the wearer.
In selecting material for a gown, the fashionable modiste will first
consider the eyes of the lady who is to wear it. Though few but the
artist realize it, the eyes are the keynote of the entire costume. They
determine whether the dress shall be frivolous or demure, gay or somber,
vivid or soft. The color of the hair, also, is important in deciding the
color of the gown itself. The soft colors--pink, green, violet,
blue--are admirably adapted to blue eyes and light hair while the more
brilliant colors are suitable for dark eyes and black hair.
So large a part does color play in the creating of fashions that one
must give it correspondingly careful consideration in adapting it to
one's complexion and hair. A wrong color has the alarming propensity of
marring the beauty of the most charming gown--even as the use of the
right color enhances the beauty of the most simple gown. With harmony,
style and color the gown needs only the final touch of _personality_ to
make it perfect. And it is that of which we are now going to speak.
THE CHARM OF PERSONALITY
Dress is an index to character as surely as a table of contents is an
index to what a book contains. We know by looking at an over-dressed
young person, with a much-beruffled and ornamented frock, that she is
vain. We know by glancing at a young man who wears an orange tie,
checked hat, and twirls a bamboo cane, that he is inclined to be just
the least bit gay. We know by the simple dignity of an elderly woman's
dress that she is conservative and well-poised.
In the clothes we wear we reveal to the world the story of our ideals,
our principles. If we are frivolous, our clothes show it. If we have a
sense of the artistic, our clothes show it. If we are modest, bold, vain
or proud the clothes we wear reveal it for all the world to see.
But "Dress changes the manners," Voltaire tells us. It is true; on the
stage the "beggar" in his tattered clothes acts and speaks and looks the
part of a beggar. At dress rehearsals he plays the part to perfection,
but rehearsing in ordinary street clothes he is never quite
satisfactory. Something seems to be missing; and that something is
personality. The same is true of the rather studious young girl who is
also shy and retiring. In her somber clothes, she is perfectly content
in the gloomy solitude of her study; but dressed in a filmy little frock
of lace and net, with her hair youthfully marcelled, with buckled
slippers on her feet, she feels vaguely dissatisfied. She wants to skip
and dance and laugh and sing; if she knew psychology and the personality
in dress, she would be able to explain it to herself in this manner:
clothes so affect the mental outlook, that the wearer unconsciously
adopts the personality portrayed.
Can you imagine a Lord Chesterton in tattered clothes, a Queen Elizabeth
in a limp calico frock, a George Washington in a conspicuously checked
suit? Unmistakable qualities of character are discernible in the clothes
we wear--and for that reason we should be particularly careful to make
them a true expression of our personality.
Thus when you want to feel light-hearted and free from care, wear
delicate fabrics and bright hats. When you want to be thoughtful and
solemn, wear heavy clothes and large, drooping hats. Adapt your clothes
to your moods, or your moods to your clothes; but have always one ideal
in dress--yourself.
This holds equally true of the man. When weighty business matters are to
be attended to, dark suits with correspondingly somber ties and shirts
attract the desired mood of seriousness. For less sedate, though not
less important, occasions, brighter attire makes one forget the cares of
business and assume an air of gayety. One may recline in a full-dress
suit and strive vainly for rest; but the mere putting on of a smoking
jacket brings an immediate feeling of relaxation.
As Haliburton so pointedly said, "As soon as a person begins to dress
'loud' his manners and conversation partake of the same element."
GAUDINESS VERSUS GOOD TASTE
Striking attractiveness, rather than simple good taste, seems to be the
spirit of modern dress. To see a beautiful young woman in gaudy clothes
is as disappointing as seeing a romantic old Spanish tale bound in a
cheap paper cover.
How much more delightful is a simple frock, developed of rich materials,
and boasting only deep soft folds of the material as decoration, than an
elaborate gown with rows and rows of imitation gold lace! And yet, we
find that many of our most fashionable women, priding themselves on
having good taste, select clothes that are conspicuous and gaudy rather
than those that are simple.
Beauty of material and excellence of workmanship should be the primary
considerations in selecting a new gown or suit. If ornament is desired,
the laws of harmony, contrast and personality should be carefully
considered. Colors must blend; there must be no weird contrasts that jar
badly on one's artistic sense. Gaudiness, after all, defeats its own
purpose, for it expresses a certain vulgarity. The desire to attract
attention has no place in the world of good breeding.
Who wishes to be stared at, remarked upon, openly admired--if not the
ill-bred woman, the sorely uncultivated man? Good taste finds expression
in gowns that are simple, inconspicuous, yet well-cut and artistic; in
suits that are quiet, conservative and well-tailored. And the good taste
finds its reward in the genuine admiration and keen appreciation of
others.
"EXTRAVAGANCE THE GREATEST VULGARITY"
That is what Dr. Crane says--Dr. Crane, who has studied manners in all
their aspects. "Extravagance is the greatest vulgarity." How true it is!
How many of us adjust the expenditure for clothes in our households, not
by what we ourselves can afford, but by what our neighbors and friends
spend!
Fashion is a temptress. Smart gowns, exquisite hat creations, attractive
styles in bootery, all tempt us to spend more than is really quite
necessary. The extravagant woman fills her wardrobe with numerous
dresses, blouses and hats for which she has no real use. But how much
more sensible it is to have just enough for one's needs, a few stylish,
well-made garments--each one an expression of the wearer's own
personality.
There seems to be a false impression among men and women alike, that to
be fashionable one must have a new dress for every occasion, a different
suit for every day of the week. As a matter of fact, this is an
entirely mistaken idea. Fashion is not measured by the number of suits
or dresses we have, but by the good taste we display in their selection.
It is significant that the woman whose wardrobe is filled to
overflowing, invariably finds that she has "nothing to wear," while the
woman of taste, with her carefully selected wardrobe, always seems to be
dressed just right.
INAPPROPRIATENESS IN CLOTHES
Just as there are certain laws governing the manners and conduct of
society, there are certain laws governing the uses of dress. What is
correct for the dance, is entirely incorrect for street wear. What one
wears on a shopping trip may not be worn to the theater. The gentleman
must not wear his business suit to dinner. Occasion governs costume--and
its dictates must be heeded if one would be considered both fashionable
and well-bred.
There is, for instance, the modish young lady taking an afternoon stroll
in high-heeled satin slippers. What could be more inappropriate? Satin
slippers should be worn only with semi-evening or evening dress--never
with street clothes. Pumps with fur coats are strikingly inconsistent,
as are straw hats with winter attire, or velvet hats with dainty
summer-time frocks. True fashion does not profess to distort the
seasons, although the style authorities would often have us believe so
for their own material gain.
Then, of course, there is the young person who is athletically inclined,
and insists on wearing sport clothes on all occasions. We see her on a
shopping tour, blissfully unaware of how ridiculous her full-pleated
skirt and loose middy appear beneath her elaborate wrap. We see her at
a tea, enthusiastic over the glories of the eighteenth hole, and
interpreting the glances of her friends at her sport shoes and bright
sweater as glances of admiration rather than disapproval. Sport clothes
are for the tennis courts, golf links, skating rinks and similar places.
They have no place at teas and receptions.
Of the transparent blouses and silk dresses of the business woman, we
will speak later; but in drawing a comparison, we might say that they
are no more inappropriate than the eccentricities of dress assumed by
some of our women of fashion. The importance of this question warrants a
special paragraph.
THE ECCENTRIC DRESSER
Many men and women, in the mistaken belief that they are expressing
personality, adopt certain peculiarities of dress.
Eccentric dressing always attracts attention, and is therefore bordering
on the vulgar. There are, of course, many men and women who enjoy
attracting attention, who delight in being considered "different." In
such people we are not interested. It is the people of good taste that
we wish to advise against the mistake of wearing peculiar and
unconventional clothes.
There is a very old tale related about an Egyptian queen who owned a
chain of coral, strung on a strip of dried skin from one of their sacred
animals. She gloried in the possession of it, and in order to do full
justice to it, she forbade everyone in her kingdom to wear beads.
The man or woman of to-day who wears "different" clothes, unconventional
and in most cases unbecoming garments, is merely obeying the same vain
and selfish instinct that prompted that Queen of long ago to forbid the
wearing of beads.
As for personality, the man or woman who cannot express it in correct,
conservative and conventional clothes, certainly cannot express it in
grotesque and eccentric ones.
COMFORT IN CLOTHES
Beautiful dress alone is not enough. We may be attracted to a manikin,
but after five minutes or so it bores us. With beauty of dress there
must also be a grace and ease of manner without which no man or woman is
quite charming, for uncomfortable garments rob us of all poise and
grace.
Think of holding a quiet, serious, calm conversation while one's foot
aches painfully because of a tight shoe! Think of sitting gravely and
patiently through a long concert while one's too-tight collar grows ever
more and more irritating, while one's narrow jacket becomes constantly
more uncomfortable!
To be uncomfortable is to be conscious of what one is wearing; and we
know that well-dressed men and women are never conscious of clothes.
They know instinctively that they are well-dressed, and with the
knowledge comes a dignity that adds charm to the beauty of their
costumes. Thus they are able to enter whole-heartedly into conversation,
feeling neither constrained nor uncomfortable but enjoying that serene
satisfaction that comes when one is fully aware that one is
well-dressed.
The early Romans had two distinct costumes which were worn alike by rich
and poor--one simple, flowing garment for the ordinary activities of
every-day life, and one that was also simple but a bit more decorative,
for the ceremonial occasions. Perhaps the grace and ease of manner for
which the Romans of yore were noted was due to the delightful comfort of
their dress.
Tight shoes, extreme styles, uncomfortable wraps, coats or
suits--anything that in any way makes you conscious of what you are
wearing, should be rigidly avoided. You are truly a "slave of fashion"
if you allow yourself to suffer hours of torture merely to present an
appearance that would have been vastly more pleasing if it had been
accompanied by the graceful ease of manner of which discomfort robbed
you.
IF ONE IS NOT AVERAGE
We cannot all be perfect "sixteens" or perfect "thirty-sixes." Some of
us are taller than others. Some of us are inclined to be stout. Some of
us are short, and others very slender. We all have distinct
individualities that can be marred or "starred" in the manner of dress
we adopt.
We should all study our "good points" and wear the kind of clothes that
will emphasize them at the same time that it will conceal our defects.
Clothes have the power of magnifying imperfections. The too-stout woman
can wear dresses that will make her look twice as stout. The short man
can wear suits that make him look very much shorter. Intelligence, good
judgment and a sense of beauty will achieve remarkable results for the
man or woman who cares about his or her appearance.
There is the very thin woman, for instance. She must avoid the severely
straight up-and-down lines that are so appropriate for other women who
are built differently. Her forte is tunics, large collars, ruffles,
overblouses and bows. Soft, filmy materials that fall in graceful lines
are especially becoming, as are checked and flowered materials. Stripes
in all forms must be strictly avoided as they accentuate the
slenderness. For the thin woman, an easy, graceful manner is most
important. When she develops such a manner, and combines it with the
fluffiest and most frilly of feminine fashions, one will see how very
charming she can be.
The too-stout woman faces a more difficult problem. She must carefully
consider each detail of her dress, making sure that it does not in any
way accentuate her fleshiness. She must avoid the checked and
brightly-colored materials that her slender friends may wear. Long lines
should be worn, and it should be remembered that clothes without
waistlines work wonders for the stout woman--just as the coat without a
belt improves the appearance of the stout man. Such edicts of fashion as
the tight sleeve, round neck or short waist are not for the stout woman.
The ideal dress for her is one long and sweeping in line. The length of
the skirt, as well as details of style, must be adapted to her own
particular requirements. She will find that she will be much happier
(and her friends, too!) if she forgets that she is stout, and does not
constantly bewail the fact to those who are with her. It is not
deplorable to be stout, but it certainly is deplorable to dress in a
manner which emphasizes that stoutness.
TALL AND SHORT PEOPLE
Tall people have a distinct advantage. They are able to wear all styles,
all colors, unless they are extremely tall. They seem to have a certain
natural grace that lends charm to whatever they wear. But there is the
too-tall person who must be careful of what he or she wears. The very
tall woman should avoid stripes as they add to her height. She must not
wear high collars, nor severely tailored blouses. The tailored suit,
however, becomes her. She should avoid bright colors and indulge a great
deal in blacks and "midnight" blues. The tall man may wear whatever he
pleases--as long as it is not conspicuous. He almost invariably presents
an imposing and dignified appearance if he is well dressed.
Short people, especially short women, must exert special care in the
selection of their wardrobes. The short woman must select only those
gowns that have long lines, long-waisted effects. Bright colors are not
for her--except a touch here and there. Short skirts are more becoming
than long ones, just as stripes are more becoming than checks. Two
extremes that the short woman must never indulge in, are large, drooping
hats and extremely high heels. The hat cuts her height, and the heels
give her a tilted appearance.
Whether you are tall or short, stout or slender, you have some
particular attractiveness, and you should not allow the knowledge of
your imperfections to make you timid or awkward. It needs only the
correct dress and the proper spirit of pride and dignity to accentuate
your personal charms. Remember that it is personality that
counts--personality and character--and while some of the world's
greatest personalities have been exceptionally tall, just as many of
them have been extremely short!
THE WELL-DRESSED WOMAN
Someone once said there is nothing more beautiful than a beautiful
woman. A pretty sentiment, but not quite complete. We would have it
read: There is nothing more beautiful than a beautiful woman
well-dressed.
When is a woman well-dressed? It cannot be when she is merely
fashionable, for when we glance at the fading portrait of some forgotten
ancestor, graceful in her Colonial gown with its billows and billows of
creamy white lace, we feel instinctively that she is well-dressed. And
yet, we cannot call her fashionable. It cannot be elaborate attire, for
we know that the stylish young miss in her severely tailored suit and
sailor hat is certainly well-dressed. It cannot be distinctiveness--or
individuality--for many a delightfully well-dressed young woman buys all
her frocks and suits in the shops.
No, it is neither of these--and yet, it is all of them. The well-dressed
woman has the faculty of charming you--and yet you yourself know not
why. You know that she is well-dressed, but when she is gone you cannot
remember just what it was that she wore. You have only a faint
recollection of a perfect harmony of line and color.
She is fashionable, yes; and elaborate, too, if the occasion warrants
it. She is distinctive, but not obviously so. But if she is truly
well-dressed, her clothes are of the best materials and the workmanship
is faultless. Style, color and line are all incidental to these two
dominating principles of dress--material and workmanship.
The striking characteristic of the woman who is well-dressed is her
poise, her grace and ease of manner, on all occasions. She is never
self-conscious, never uncomfortable. She never is the center of
attraction because she is never conspicuous. She is simply yet smartly
dressed, graceful yet dignified, attractive yet inconspicuous. Above
all, she is _always_ well-dressed--not only on festive occasions.
Every woman has within her the possibilities of being charming--if not
beautiful. It requires only the knowledge of correct dress, of harmony
and beauty in costume. There is, of course, the woman who insists that
she does not care at all about clothes, that she does not care how she
is dressed. But she is the exception, and we are interested in the rule.
Woman does herself an injustice by being dowdy, careless or commonplace
in dress. She puts herself at an unfair disadvantage. Charm and beauty
are the heritage of woman, and the world expects it of her.
NOT A SLAVE TO FASHION
The woman who is ruled by fashion may not consider herself a
well-dressed woman. If her sense of beauty is developed, if she knows
the value of art and harmony, she will not be the slave of a stupid
mode. She will not worship at the pedestal of fashion, trembling as each
new decree is announced lest she be not among the very first to observe
it. Style does not dominate her personality; rather, her personality
dominates style.
And after all, is it not absurd to adhere slavishly to that which is in
vogue, without attempting to adapt those modes to one's own
individuality? There is, for instance, the woman who discards an
otherwise attractive and fashionable gown merely because the sleeves are
slightly puffed instead of severely tight-fitting as the whim of Fashion
demands. She does not stop to consider that puffed sleeves are
infinitely more becoming to her. They are not the "latest"--and that
fact alone is enough to cause her to discard the gown.
An excellent thought for the girl or woman who wishes to be
well-dressed, to remember, is: always dress as though you were going to
the photographer to have your picture taken--a picture that you are
going to leave to your children to remember you by. If you keep this in
mind, you will never wear commonplace clothes nor clothes that are
extreme in style, but you will dress with simplicity and taste, being
sure to add here and there a touch of your very own personality--perhaps
a corsage of violets to show your love of flowers, or a rare old cameo
brooch to show your reverence for the things grown old.
THE WELL-DRESSED MAN
Few men realize the tremendous importance of clothes both in the social
and business worlds. The effects of dress are far-reaching--and they are
certainly no less so among men than women.
There is the story of the man who gained admittance to the Athenaeum
Library in Boston, although he was not a member. After spending a very
pleasant morning reading, he prepared to leave. It was then that he was
attracted to a rather dowdy individual who was remonstrating indignantly
with an official at the door. "I am a member, I tell you!" he exclaimed.
"Well, you certainly don't look it," the other retorted.
The man who had spent a morning in the library hastened away. He had not
known that use of the reading rooms was restricted to members. But no
one had questioned him, as he _looked_ the part of a member. Yet, the
man who really did belong, had to submit to the indignity of questioning
and of submitting proof, because his appearance--his clothes--did not do
justice to his position.
We know that first impressions are the most important, especially in
business. The man whose clothes are gaudy, ill-fitting or extreme, will
find that he is not making as rapid a stride forward as his abilities
warrant. Incorrect dress is a serious handicap. In the social world, it
is not only a handicap, but a barrier. The oft-repeated Dutch proverb
may be a bit exaggerated, but it certainly has a suggestion of
truth--"Clothes Make the Man."
And so we say to the young and the old man alike, dress well. Dress, not
as a fashion-plate, but with a regard for appropriate style--and with an
especially keen regard for fine materials and excellent workmanship. Do
not be content with an ordinary suit, but be sure that each one you wear
imparts that poise and dignity which is so essential to the true
gentleman. Your wardrobe need not be filled with suits for every day and
every occasion; but a few carefully selected garments, well-tailored and
smartly styled will earn for you the enviable distinction of "a
well-dressed man."
One might remember, to quote once again from the proverbs of the Dutch,
that "A smart coat is a good letter of introduction."
THE CHARM OF OLD AGE
Youth may not claim sole possession of charm. Old age has a charm all
its own--a silver charm that makes one think of mellowed roses, and
fading sunsets.
A delightful gray-and-lilac grandmother, reposing quietly in the depths
of a great armchair, perhaps dreaming of a golden youth--this is a
picture that artists have long loved to paint. There is something
strangely irresistible in old age, especially when old age is
beautiful. And to make it beautiful requires only a calm assurance and
kind heart combined with clothes that are in good taste and in harmony
with one's years and personality.
Of course, one does not expect one's grandmother to wear the same kind
of gay creations that young Miss Seventeen delights in; nor would one
expect one's grandfather to flaunt the same style of suit one's son
wears at college. The sound of rustling silk and sweeping petticoats is
one of the charms of the elderly lady--but an abbreviated skirt would
certainly make her appear ridiculous. Similarly, the elderly gentleman
finds dignity and distinction in a black frock coat, but one is inclined
to smile when he appears in the jaunty black-and-white checked Norfolk
suit that would better become his son.
Yes, age has a charm that is well worth striving for. There is something
decidedly imposing and impressive about a handsome old man immaculately
dressed; and there are no words beautiful enough to describe the
enchantment of the silver-haired old lady in delicate colors and
fabrics, and flowing styles reminiscent of the days of powdered wigs.
Old age has its compensations; youth can never have its charming repose
and calm.
THE ELDERLY WOMAN
In these days, when daughter and grandmother enjoy the same
entertainments, and attend the same affairs, the clothes of the elderly
woman are just as important as those of the younger. We shall describe
here several kinds of costumes that invariably add charm to old age, so
that grandmother may appear to advantage beside the youthful bloom of
the young girl.
There is, for instance, the soft, wide lace fichu so becoming to the
elderly woman--but that the young miss cannot very well wear. Combined
with a dress of brocaded satin, with a full skirt that takes one back to
the days of the Quakers, the lace fichu is most attractive. Then there
is always the shadowy charm of black velvet and black lace. For the more
formal occasions when the elderly woman wishes to be particularly
well-dressed, yet not conspicuous, a dress of black velvet, with wide
frills of black Chantilly lace, makes a most appropriate costume. The
lace may be used to veil the skirt and as sleeves.
The elderly woman may choose any dark color that becomes her--gray, dark
blue and black are perhaps the three colors most favored. There are
several light colors that are appropriate, chief among them, gray and
lavendar. Materials worn by the woman-who-is-older are taffeta, velvet,
_crepe de chine_ and satin. She should avoid such materials as organdie,
georgette and tulle--they are meant for youth.
IMITATION AND OVER-DRESSING
Two of the most common faults of elderly women are imitation and
over-dressing. Both rob old age of its charm, and the wise woman will
conscientiously avoid them.
By imitation, we mean the following of fashions and styles meant for the
young person. We see women celebrating their fiftieth wedding
anniversaries wearing "fashionable" dresses that are in absolute discord
with their years and personality. Short skirts and straight-line
silhouettes may be perfectly all right, but they certainly do not give
to old age the imposing dignity that is its main charm.
One instinctively respects and admires the white-haired woman whose
skirts are of a length commensurate with her age and dignity, and who
carries herself with calm poise. More than that, one _appreciates_ her.
But the woman who is growing old and insists upon keeping herself young
by wearing inappropriate and inharmonious clothes, is merely making a
farce of herself. There can be nothing more ridiculous than a woman past
fifty in gown and wrap obviously created for the young person of
seventeen. Instead of improving her appearance, the elderly woman
deprives herself of the charm that should rightfully be hers.
As for over-dressing, it is so utterly bad form and bad taste that it
requires only passing notice. Just as simplicity enhances the beauty of
youth, so does simplicity enhance the charm of old-age. Ostentation of
any kind, jewels, bright colors, gaudy styles--all these make old age
awkward, unpresentable and unrefined.
THE OLDER GENTLEMAN
One can be a good many years past fifty and still enjoy the theater, the
opera. And one can easily retain the presentable dignity of earlier days
by wearing clothes that are just as appropriate as those of those
earlier days.
For afternoon wear the elderly man will find the black frock coat with
gray trousers most effective. He should wear white linen, wing collar
and small black tie. This costume is also appropriate for morning wear.
In the evening the gentleman always wears full dress, irrespective of
age.
In the warmer climates, gentlemen of more mature years find keen
pleasure in the early morning and afternoon costume consisting of black
and white patterned homespun jacket, slacks and waistcoat of white
flannel, white linen and foulard tie. Black and white sport shoes and a
light panama hat complete the costume admirably.
A TRIP TO THE SOUTH
Because it is the trip about which people are most in doubt when it
comes to deciding what to take along we give here below a few
suggestions about the wardrobe for a person about to start South.
To visit the balmy sunshine of the South, is to require a wardrobe that
will harmonize with the lazy mood of the skies of Havana or Miami. Even
though the snows may have tied up traffic in one's own home town,
clothes for the Southland trip must be delicate, "summery" and flimsy.
One includes a bathing suit, too, although the lake back home is frozen
over.
The wardrobe one takes to the South depends largely upon the duration of
the visit and the extent of one's purse. The one described here is for
the average requirements of both.
For the mornings there must be several crisp, demure little frocks that
are easy to launder. Bright colors match bright skies, and wide sashes
are most becoming. For afternoon wear, frocks of taffeta, silk and
organdie are suggested--colorful little frocks made with a regard for
easy packing and attractiveness. Canton crepe is a lovely material,
especially when it is of pale apricot or Nile green--and it does not
crush as easily as taffeta or organdie. A delightful frock for Southern
wear is hand-sewn voile in a soft old rose shade. With it may be worn a
large-brimmed straw hat of old rose.
Bright sweaters, sport skirts, sport coats, blouses, oxfords--all these
are of course indispensable to the wardrobe for the southern visit. The
number of sweaters and blouses taken depends upon the length of the
visit. One should include a bathing suit, a beach coat and a brightly
colored parasol. And the smart frock for evening strolls must not be
forgotten.
At least one elaborate evening gown, and two or three semi-evening gowns
will be necessary even if the visit to the South is a short one. And we
would heartily recommend a fluffy little evening wrap to go with the
gown. Then, of course, there are the little strapped slippers and the
low-cut sports shoes to be considered.
One is pretty sure to be happy under the blue skies of the tropics if
one's wardrobe contains a plentiful supply of gay, colorful frocks,
blouses and sports things. But one need not postpone the visit because
clothes seem to be expensive; common sense, good judgment and a small
purse go a long way.
FOR THE GENTLEMAN
Plenty of white duck trousers, white linen, light sack coats and sports
clothes are necessary for the man who winters in the South. He will find
the patterned homespun jacket very smart indeed, with slacks and
waistcoat of white flannel. This outfit may be worn with panama hat,
colored foulard tie and black and white sports shoes.
A brown or gray flannel sack suit is convenient for Southern
wear--especially in the morning and early afternoon. It is attractive
when worn with tan oxfords, colored linen and straw hat. Flannel suits
are often worn with white oxfords, and sometimes blue serge sack jackets
with white duck trousers.
The wise man will include a suit for motoring in his wardrobe. With it
he should include a motor cap, and a light raglan coat or a coat of
unshorn homespun. An attractive tennis jacket for Southern wear is of
blue and black striped English flannel, with a wide roll collar; worn
with white linen and white flannel trousers. White tennis shoes should
be included for wear with this outfit.
For the afternoon, an attractive costume for the gentleman in the South
is a single-breasted jacket of diamond weave homespun, a double-breasted
vest to match, white flannel trousers and white linen. A black tie with
polka dots of white, and black and white sports shoes add just the right
note of smartness.
A dinner jacket and full dress suit must have place in the wardrobe one
prepares for the South. Patent leather pumps should not be forgotten,
nor a silk hat for the very formal occasions. Of course, there must be
plenty of white and colored linen, and a generous supply of bright ties
and sports shoes and hose. As for bathing suit, golf togs and riding
habits, we leave these to the taste and discrimination of the gentleman
who is contemplating the visit.