Woman as Decoration E-Book

Emily Burbank

• Herausgeber: Seltzer Books
• Kategorie: Ratgeber
• Sprache: Englisch
• Veröffentlichungsjahr: 2018

Seitenzahl: 195

Beschreibung

First published in 1917, advice which was seriously meant at the time it was written can now be read as humor. As explained in the Foreword: "Woman as Decoration is intended as a sequel to "The Art of Interior Decoration" (Grace Wood and Emily Burbank). Having assisted in setting the stage for woman, the next logical step is the consideration of woman, herself, as an important factor in the decorative scheme of any setting,--the vital spark to animate all interior decoration, private or public. The book in hand is intended as a brief guide for the woman who would understand her own type,--make the most of it, and know how simple a matter it is to be decorative if she will but master the few rules underlying all successful dressing. As the costuming of woman is an art, the history of that art must be known--to a certain extent--by one who would be an intelligent student of our subject. With the assistance of thirty-three illustrations to throw light upon the text, we have tried to tell the beguiling story of decorative woman, as she appears in frescoes and bas reliefs of Ancient Egypt, on Greek vases, the Gothic woman in tapestry and stained glass, woman in painting, stucco and tapestry of the Renaissance, seventeenth, eighteenth and nineteenth century woman in portraits."

Leseprobe

WOMAN AS DECORATION BY EMILY BURBANK

Published by Seltzer Books

established in 1974, now offering over 14,000 books

feedback welcome: [email protected]

Books about Women available from Seltzer Books:

History of Woman Suffrage edited by Stanton, Anthony, and Gage

Woman in the 19th Century by Fuller

A Vindication of the Rights of Women by Wollstonecraft

Woman as Decoration by Burbank

Women as Sex Vendors by Tobias

Women Painters of the World by Sparrow

Roman Women by Brittain

Oriental Women by Pollard

Greek Women by Carroll

Women of Early Christiantity by Brittain

Women of Medieval France by Butler

Women of the Romance Coutnries by Effinger

Women of Modern France by Thieme

Women of the Tuetonic Nations by Schoenfeld

Women of England by James

Great Women by Lord

Women of America by Larus

The Women of Tomorrow by Hard

The Wit of Women by Sanborn

In Defense of Women by Mencken

The Subjectio of Women by Mill

The Four Epochs of Woman's Lie by Galbraith

NEW YORK DODD, MEAD AND COMPANY 1917

Copyright, 1917By DODD, MEAD AND COMPANY, Inc. DEDICATEDtoV. B. G.

Sketched for "Woman as Decoration" by Thelma Cudlipp, Mme. Geraldine Farrar in Greek Costume as Thaïs

Madame Geraldine Farrar as Thaïs in the opera of that name. It is a sketch made from life for this book. Observe the gilded wig and richly embroidered gown. They are after descriptions of a costume worn by the real Thaïs. It is a Greek type of costume but not the familiar classic Greek of sculptured story. Thaïs was a reigning beauty and acted in the theatre of Alexandria in the early Christian era.

FOREWORD

CHAPTER I A FEW HINTS FOR THE NOVICE WHO WOULD PLAN HER COSTUMES

CHAPTER II THE LAWS UNDERLYING ALL COSTUMING OF WOMAN

CHAPTER III HOW TO DRESS YOUR TYPE

CHAPTER IV THE PSYCHOLOGY OF CLOTHES

CHAPTER V ESTABLISH HABITS OF CARRIAGE WHICH CREATE GOOD LINE

CHAPTER VI COLOUR IN WOMAN'S COSTUME

CHAPTER VII FOOTWEAR

CHAPTER VIII JEWELRY AS DECORATION

CHAPTER IX WOMAN DECORATIVE IN HER BOUDOIR

CHAPTER X WOMAN DECORATIVE IN HER SUN-ROOM

CHAPTER XI I. WOMAN DECORATIVE IN HER GARDEN

CHAPTER XI.  II. WOMAN DECORATIVE ON THE LAWN

CHAPTER XI  III. WOMAN DECORATIVE ON THE BEACH

CHAPTER XII WOMAN AS DECORATION WHEN SKATING

CHAPTER XIII WOMAN DECORATIVE IN HER MOTOR CAR

CHAPTER XIV HOW TO GO ABOUT PLANNING A PERIOD COSTUME

CHAPTER XV I. THE STORY OF PERIOD COSTUMES

CHAPTER XV  II. EGYPT AND ASSYRIA

CHAPTER XV  III. EGYPT, BYZANTIUM, GREECE AND ROME

CHAPTER XVI DEVELOPMENT OF GOTHIC COSTUME

CHAPTER XVII THE RENAISSANCE

CHAPTER XVIII EIGHTEENTH CENTURY

CHAPTER XIX WOMAN IN THE VICTORIAN PERIOD

CHAPTER XX SEX IN COSTUMING

CHAPTER XXI LINE AND COLOUR OF COSTUMES IN HUNGARY

CHAPTER XXII STUDYING LINE AND COLOUR IN RUSSIA

CHAPTER XXIII MARK TWAIN'S LOVE OF COLOUR IN ALL COSTUMING

CHAPTER XXIV THE ARTIST AND HIS COSTUME

CHAPTER XXV IDIOSYNCRASIES IN COSTUME

CHAPTER XXVI NATIONALITY IN COSTUME

CHAPTER XXVII MODELS

CHAPTER XXVIII WOMAN COSTUMED FOR HER WAR JOB

IN CONCLUSION

FOREWORD

Woman as Decoration is intended as a sequel to The Art of Interior Decoration (Grace Wood and Emily Burbank).

Having assisted in setting the stage for woman, the next logical step is the consideration of woman, herself, as an important factor in the decorative scheme of any setting,—the vital spark to animate all interior decoration, private or public. The book in hand is intended as a brief guide for the woman who would understand her own type,—make the most of it, and know how simple a matter it is to be decorative if she will but master the few rules underlying all successful dressing. As the costuming of woman is an art, the history of that art must be known—to a certain extent—by one who would be an intelligent student of our subject. With the assistance of thirty-three illustrations to throw light upon the text, we have tried to tell the beguiling story of decorative woman, as she appears in frescoes and bas reliefs of Ancient Egypt, on Greek vases, the Gothic woman in tapestry and stained glass, woman in painting, stucco and tapestry of the Renaissance, seventeenth, eighteenth and nineteenth century woman in portraits.

Contemporary woman's costume is considered, not as fashion, but as decorative line and colour, a distinct contribution to the interior decoration of her own home or other setting. In this department, woman is given suggestions as to the costuming of herself, beautifully and appropriately, in the ball-room, at the opera, in her boudoir, sun-room or on her shaded porch; in her garden; when driving her own car; by the sea, or on the ice.

Woman as Decoration has been planned, in part, also to fill a need very generally expressed for a handbook to serve as guide for beginners in getting up costumes for fancy-dress balls, amateur theatricals, or the professional stage.

We have tried to shed light upon period costumes and point out ways of making any costume effective.

Costume books abound, but so far as we know, this is the first attempt to confine the vast and perplexing subject within the dimensions of a small, accessible volume devoted to the principles underlying the planning of all costumes, regardless of period.

The author does not advocate the preening of her feathers as woman's sole occupation, in any age, much less at this crisis in the making of world history; but she does lay great emphasis on the fact that a woman owes it to herself, her family and the public in general, to be as decorative in any setting, as her knowledge of the art of dressing admits. This knowledge implies an understanding of line, colour, fitness, background, and above all, one's own type. To know one's type, and to have some knowledge of the principles underlying all good dressing, is of serious economic value; it means a saving of time, vitality and money.

The watchword of to-day is efficiency, and the keynote to modern costuming, appropriateness. And so the spirit of the time records itself in the interesting and charming subdivision of woman's attire.

One may follow Woman Decorative in the Orient on vase, fan, screen and kakemono; as she struts in the stiff manner of Egyptian bas reliefs, across walls of ancient ruins, or sits in angular serenity, gazing into the future through the narrow slits of Egyptian eyes, oblivious of time; woman, beautiful in the European sense, and decorative to the superlative degree, on Greek vase and sculptured wall. Here in rhythmic curves, she dandles lovely Cupid on her toe; serves as vestal virgin at a woodland shrine; wears the bronze helmet of Minerva; makes laws, or as Penelope, the wife, wearily awaits her roving lord. She moves in august majesty, a sore-tried queen, and leaps in merry laughter as a care-free slave; pipes, sings and plies the distaff. Sauntering on, down through Gothic Europe, Tudor England, the adolescent Renaissance, Bourbon France, into the picturesque changes of the eighteenth century, we ask, can one possibly escape our theme—Woman as Decoration? No, for she is carved in wood and stone; as Mother of God and Queen of Heaven gleams in the jeweled windows of the church, looks down in placid serenity on lighted altar; is woven in tapestry, in fact dominates all art, painting, stucco or marble, throughout the ages.

If one would know the story of Woman's evolution and retrogression—that rising and falling tide in civilisation—we commend a study of her as she is presented in Art. A knowledge of her costume frequently throws light upon her age; a thorough knowledge of her age will throw light upon her costume.

A study of the essentials of any costume, of any period, trains the eye and mind to be expert in planning costumes for every-day use. One learns quickly to discriminate between details which are ornaments, because they have meaning, and those which are only illiterate superfluities; and one learns to master many other points.

It is not within the province of this book to dwell at length upon national costume, but rather to follow costume as it developed with and reflected caste, after human society ceased to be all alike as to occupation, diversion and interest.

In the world of caste, costume has gradually evolved until it aims through appropriateness, at assisting woman to fulfil her rôle. With peasants who know only the traditional costume of their province, the task must often be done in spite of the costume, which is picturesque or grotesque, inconvenient, even impossible; but long may it linger to divert the eye! Russia, Germany, France, Spain, Italy, Poland, Scandinavia,—all have an endless variety of costumes, rich in souvenirs of folk history, rainbows of colour and bizarre in line, but it is costuming the woman of fashion which claims our attention.

The succeeding chapters will treat of woman, the vital spark which gives meaning to any setting—indoors, out of doors, at the opera, in the ball-room, on the ice—where you will. Each chapter has to do with modern woman and the historical paragraphs are given primarily to shed light upon her costume.

It is shown that woman's decorative appearance affects her psychology, and that woman's psychology affects her decorative appearance.

Some chapters may, at first glance, seem irrelevant, but those who have seriously studied any art, and then undertaken to tell its story briefly in simple, direct language, with the hope of quickly putting audience or reader in touch with the vital links in the chain of evidence, will understand the author's claim that no detour which illustrates the subject can in justice be termed irrelevant. In the detours often lie invaluable data, for one with a mind for research—whether author or reader. This is especially true in connection with our present task, which involves unravelling some of the threads from the tangled skein of religion, dancing, music, sculpture and painting—that mass of bright and sombre colour, of gold and silver threads, strung with pearls and glittering gems strangely broken by age—which tells the epic-lyric tale of civilisation.

While we state that it is not our aim to make a point of fashion as such, some of our illustrations show contemporary woman as she appears in our homes, on our streets, at the play, in her garden, etc. We have taken examples of women's costumes which are pre-eminently characteristic of the moment in which we write, and as we believe, illustrate those laws upon which we base our deductions concerning woman as decoration. These laws are: appropriateness of her costume to the occasion; consideration of the type of wearer; background against which costume is to be worn; and all decoration (which includes jewels), as detail with raison d'être. The body should be carried with form (in the sporting sense), to assist in giving line to the costume.

The chic woman is the one who understands the art of elimination in costumes. Wear your costumes with conviction—by which we mean decide what picture you will make of yourself, make it and then enjoy it! It is only by letting your personality animate your costume that you make yourself superior to the lay figure or the sawdust doll.

CHAPTER I A FEW HINTS FOR THE NOVICE WHO WOULD PLAN HER COSTUMES

HERE are a few rules with regard to the costuming of woman which if understood put one a long way on the road toward that desirable goal—decorativeness, and have economic value as well. They are simple rules deduced by those who have made a study of woman's lines and colouring, and how to emphasise or modify them by dress.

Temperaments are seriously considered by experts in this art, for the carriage of a woman and her manner of wearing her clothes depends in part upon her temperament. Some women instinctively feel line and are graceful in consequence, as we have said, but where one is not born with this instinct, it is possible to become so thoroughly schooled in the technique of controlling the physique—poise of the body, carriage of the head, movement of the limbs, use of feet and hands, that a sense of line is acquired. Study portraits by great masters, the movements of those on the stage, the carriage and positions natural to graceful women. A graceful woman is invariably a woman highly sensitised, but remember that "alive to the finger tips"—or toe tips, may be true of the woman with few gestures, a quiet voice and measured words, as well as the intensely active type.

The highly sensitised woman is the one who will wear her clothes with individuality, whether she be rounded or slender. To dress well is an art, and requires concentration as any other art does. You know the old story of the boy, who when asked why his necktie was always more neatly tied than those of his companions, answered: "I put my whole mind on it." There you have it! The woman who puts her whole mind on the costuming of herself is naturally going to look better than the woman who does not, and having carefully studied her type, she will know her strong points and her weak ones, and by accentuating the former, draw attention from the latter. There is a great difference, however, between concentrating on dress until an effect is achieved, and then turning the mind to other subjects, and that tiresome dawdling, indefinite, fruitless way, to arrive at no convictions. This variety of woman never gets dress off her chest.

The catechism of good dressing might be given in some such form as this: Are you fat? If so, never try to look thin by compressing your figure or confining your clothes in such a way as to clearly outline the figure. Take a chance from your size. Aim at long lines, and what dressmakers call an "easy fit," and the use of solid colours. Stripes, checks, plaids, spots and figures of any kind draw attention to dimensions; a very fat woman looks larger if her surface is marked off into many spaces. Likewise a very thin woman looks thinner if her body on the imagination of the public subtracting is marked off into spaces absurdly few in number. A beautifully proportioned and rounded figure is the one to indulge in striped, checked, spotted or flowered materials or any parti-coloured costumes.

Never try to make a thin woman look anything but thin. Often by accentuating her thinness, a woman can make an effect as type, which gives her distinction. If she were foolish enough to try to look fatter, her lines would be lost without attaining the contour of the rounded type. There are of course fashions in types; pale ash blonds, red-haired types (auburn or golden red with shell pink complexions), dark haired types with pale white skin, etc., and fashions in figures are as many and as fleeting.

Artists are sometimes responsible for these vogues. One hears of the Rubens type, or the Sir Joshua Reynolds, Hauptner, Burne-Jones, Greuse, Henner, Zuloaga, and others. The artist selects the type and paints it, the attention of the public is attracted to it and thereafter singles it out. We may prefer soft, round blonds with dimpled smiles, but that does not mean that such indisputable loveliness can challenge the attractions of a slender serpentine tragedy-queen, if the latter has established the vogue of her type through the medium of the stage or painter's brush.

A woman well known in the world of fashion both sides of the Atlantic, slender and very tall, has at times deliberately increased that height with a small high-crowned hat, surmounted by a still higher feather. She attained distinction without becoming a caricature, by reason of her obvious breeding and reserve. Here is an important point. A woman of quiet and what we call conservative type, can afford to wear conspicuous clothes if she wishes, whereas a conspicuous type must be reserved in her dress. By following this rule the overblown rose often makes herself beautiful. Study all types of woman. Beauty is a wonderful and precious thing, and not so fleeting either as one is told. The point is, to take note, not of beauty's departure, but its gradually changing aspect, and adapt costume, line and colour, to the demands of each year's alterations in the individual. Make the most of grey hair; as you lose your colour, soften your tones.

Always star your points. If you happen to have an unusual amount of hair, make it count, even though the fashion be to wear but little. We recall the beautiful and unique Madame X. of Paris, blessed by the gods with hair like bronze, heavy, long, silken and straight. She wore it wrapped about her head and finally coiled into a French twist on the top, the effect closely resembling an old Roman helmet. This was design, not chance, and her well-modeled features were the sort to stand the severe coiffure, Madame's husband, always at her side that season on Lake Lucerne, was curator of the Louvre. We often wondered whether the idea was his or hers. She invariably wore white, not a note of colour, save her hair; even her well-bred fox terrier was snowy white.

Worth has given distinction to more than one woman by recognising her possibilities, if kept to white, black, greys and mauves. A beautiful Englishwoman dressed by this establishment, always a marked figure at whatever embassy her husband happens to be posted, has never been seen wearing anything in the evening but black, or white, with very simple lines, cut low and having a narrow train.

Metropolitan Museum of Art, Woman in Ancient Egyptia, Sculpture-Relief

Woman in ancient Egyptian sculpture-relief about 1000 B.C. We have here a husband and wife. (Metropolitan Museum.)

It may take courage on the part of dressmaker, as well as the woman in question, but granted you have a distinct style of your own, and understand it, it is the part of wisdom to establish the habit of those lines and colours which are yours, and then to avoid experiments with outré lines and shades. They are almost sure to prove failures. Taking on a colour and its variants is an economic, as well as an artistic measure. Some women have so systematised their costuming in order to be decorative, at the least possible expenditure of vitality and time (these are the women who dress to live, not live to dress), that they know at a glance, if dress materials, hats, gloves, jewels, colour of stones and style of setting, are for them. It is really a joy to shop with this kind of woman. She has definitely fixed in her mind the colours and lines of her rooms, all her habitual settings, and the clothes and accessories best for her. And with the eye of an artist, she passes swiftly by the most alluring bargains, calculated to undermine firm resolution. In fact one should not say that this woman shops; she buys. What is more, she never wastes money, though she may spend it lavishly.

Some of the best dressed women (by which we always mean women dressed fittingly for the occasion, and with reference to their own particular types) are those with decidedly limited incomes.

There are women who suggest chiffon and others brocade; women who call for satin, and others for silk; women for sheer muslins, and others for heavy linen weaves; women for straight brims, and others for those that droop; women for leghorns, and those they do not suit; women for white furs, and others for tawny shades. A woman with red in her hair is the one to wear red fox.

If you cannot see for yourself what line and colour do to you, surely you have some friend who can tell you. In any case, there is always the possibility of paying an expert for advice. Allow yourself to be guided in the reaching of some decision about yourself and your limitations, as well as possibilities. You will by this means increase your decorativeness, and what is of more serious importance, your economic value.

A marked example of woman decorative was seen on the recent occasion when Miss Isadora Duncan danced at the Metropolitan Opera House, for the benefit of French artists and their families, victims of the present war. Miss Duncan was herself so marvelous that afternoon, as she poured her art, aglow and vibrant with genius, into the mould of one classic pose after another, that most of her audience had little interest in any other personality, or effect. Some of us, however, when scanning the house between the acts, had our attention caught and held by a charmingly decorative woman occupying one of the boxes, a quaint outline in silver-grey taffeta, exactly matching the shade of the woman's hair, which was cut in Florentine fashion forming an aureole about her small head,—a becoming frame for her fine, highly sensitive face. The deep red curtains and upholstery in the box threw her into relief, a lovely miniature, as seen from a distance. There were no doubt other charming costumes in the boxes and stalls that afternoon, but none so successful in registering a distinct decorative effect. The one we refer to was suitable, becoming, individual, and reflected personality in a way to indicate an extraordinary sensitiveness to values, that subtle instinct which makes the artist.

With very young women it is easy to be decorative under most conditions. Almost all of them are decorative, as seen in our present fashions, but to produce an effect in an opera box is to understand the carrying power of colour and line. The woman in the opera box has the same problem to solve as the woman on the stage: her costume must be effective at a distance. Such a costume may be white, black and any colour; gold, silver, steel or jet; lace, chiffon—what you will—provided the fact be kept in mind that your outline be striking and the colour an agreeable contrast against the lining of the box. Here, outline is of chief importance, the silhouette must be definite; hair, ornaments, fan, cut of gown, calculated to register against the background. In the stalls, colour and outline of any single costume become a part of the mass of colour and black and white of the audience. It is difficult to be a decorative factor under these conditions, yet we can all recall women of every age, who so costume themselves as to make an artistic, memorable impression, not only when entering opera, theatre or concert hall, but when seated. These are the women who understand the value of elimination, restraint, colour harmony and that chic which results in part from faultless grooming. To-day it is not enough to possess hair which curls ideally: it must, willy nilly, curl conventionally!

If it is necessary, prudent or wise that your purchases for each season include not more than six new gowns, take the advice of an actress of international reputation, who is famous for her good dressing in private life, and make a point of adding one new gown to each of the six departments of your wardrobe. Then have the cleverness to appear in these costumes whenever on view, making what you have fill in between times.