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Woman as Decoration

Chapter 4 THE PSYCHOLOGY OF CLOTHES

Word Count: 1613    |    Released on: 30/11/2017

hes upon manners? It is amazing, and only prov

of the most successful costume balls ever given in New York-the crinoline ball at the old Astor House-spoke of how our unromantic Wall Street men fell to the spell of stocks, ruffled shirts and knickerbockers, and as the evening

ore than one of them will have this gift for effects. It will be she who knows at a glance which of the available odds and ends she wants for herself, and with a sure, swift hand will wrap a bright shawl about her, tie a flaming bit of silk about her d

ence of seeing a well-known opera singer, when a victim to a bad case of the grippe, leave her hotel voiceless, facing a matinee of Juliet. Arrived in her dressing-room at the opera, she proceeded to change into the costume for the first act. Under the spell o

e find it is the same thing: the scarlet, and silver and gold of the early Jacobeans, is followed by the drabs and greys of the Commonwealth; the marvellous colour of the Chu

ur of the Puritans' clothes, so in turn the drab clothes, prescribed by th

TE

mes on the Holy Women a

cotta in white, blue, green, yellow and

ent of hair, capes and gowns which are E

itan Mus

rt of the

ef in Terra-Co

s in Puritan drab and Grecian white, but the child in every man takes symbol for fact. So it is that to-day, some shudder with the belief that Beauty, re-enthroned in all her gorgeous modern hues, means near disaster.

ench models, under expert supervision. You may never turn out to be an artist in the treatment of your appearance, instinctively knowing how a prevailing fashion in line and colour m

n of spirit from the consciousness that she is faultlessly gowned; the other succumbs to se

he is perfectly turned out and lets it go at that, we have only grateful applause. She it is who c

d by clothes, the more she struggles to rise above them the more her spirit flags. The case is this: the woman's mind is wrong; her clothes ar

s to have cultivated a certain degree of self-reliance. To know that one's appearance is pleasing, to put it mildly, is of inestimable value when it comes to meeting the world. Every child, if normal, has its good points-hair, eyes, teeth, complexion or

belongs to the woman who knows, though she may not have thought it out, that clothes can make one a success, but not a success in the enduring sense. Dress is a tyrant if you take it as your god, but on the other hand dress becomes a magician's wand when dominated by a clever brain. Gown yourself as beautifully as you can afford, but with judgment. What we do, and how we do it, is often seriously and strangely affected by what we have on. The writer has in mind a literary woman who says she can never talk business except in a linen collar! Mark Twain, in his last days, insisted that he wrote more easily in his night-shirt. Richard Wagner deliberately put on certain rich materials in colours and hung his room with them when compo

ination. She once ventured a cerise hat and instantly dropped to the ranks of the commonplace. Fine eyes, hair, skin, teeth,

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Woman as Decoration
Woman as Decoration
“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."”
1 Chapter 1 A FEW HINTS FOR THE NOVICE WHO WOULD PLAN HER COSTUMES2 Chapter 2 THE LAWS UNDERLYING ALL COSTUMING OF WOMAN3 Chapter 3 HOW TO DRESS YOUR TYPE4 Chapter 4 THE PSYCHOLOGY OF CLOTHES5 Chapter 5 ESTABLISH HABITS OF CARRIAGE WHICH CREATE GOOD LINE6 Chapter 6 COLOUR IN WOMAN'S COSTUME7 Chapter 7 FOOTWEAR8 Chapter 8 JEWELRY AS DECORATION9 Chapter 9 WOMAN DECORATIVE IN HER BOUDOIR10 Chapter 10 WOMAN DECORATIVE IN HER SUN-ROOM11 Chapter 11 I. WOMAN DECORATIVE IN HER GARDEN12 Chapter 12 WOMAN AS DECORATION WHEN SKATING13 Chapter 13 WOMAN DECORATIVE IN HER MOTOR CAR14 Chapter 14 HOW TO GO ABOUT PLANNING A PERIOD COSTUME15 Chapter 15 I. THE STORY OF PERIOD COSTUMES16 Chapter 16 DEVELOPMENT OF GOTHIC COSTUME17 Chapter 17 THE RENAISSANCE18 Chapter 18 EIGHTEENTH CENTURY19 Chapter 19 WOMAN IN THE VICTORIAN PERIOD20 Chapter 20 SEX IN COSTUMING21 Chapter 21 LINE AND COLOUR OF COSTUMES IN HUNGARY22 Chapter 22 STUDYING LINE AND COLOUR IN RUSSIA23 Chapter 23 MARK TWAIN'S LOVE OF COLOUR IN ALL COSTUMING24 Chapter 24 THE ARTIST AND HIS COSTUME25 Chapter 25 IDIOSYNCRASIES IN COSTUME26 Chapter 26 NATIONALITY IN COSTUME27 Chapter 27 MODELS28 Chapter 28 WOMAN COSTUMED FOR HER WAR JOB