Woman as Decoration

by Emily Burbank

You will observe that under the head of crinoline and hoop-skirt periods, there are a variety of outlines, markedly different. The slope of the hip line and the outline of the skirt is the infallible hall-mark of each of these periods.

Let it be remembered that the outline of a woman includes hair, combs, head-dress, earrings, treatment of neck, shoulders, arms, bust and hips; line to the ankles and shoes; also fan, handkerchief or any other article, which if a silhouette were made, would appear. The next step is to ascertain what materials were available at the time your costume was worn and what in vogue. Were velvets, satins or silks worn, or all three? Were materials flowered, striped, or plain? If striped, horizontal or perpendicular? For these points turn again to your art gallery, costume plates, or the best of historical novels. If you are unable to resort to the sources suggested, two courses lie open to you. Put the matter into the hands of an expert; there are many to be approached through the columns of first-class periodicals or newspapers (we do not refer to the ordinary dealer in costumes or theatre accessories); or make the effort to consult some authority, in person or by letter: an actor, historian or librarian. It is amazing how near at hand help often is, if we only make our needs known. If the reader is young and busy, dancing and skating and sleeping, and complains, in her winsome way, that "days are too short for such work," we would remind her that as already stated, to carefully study the details of any costume, of any period, means that the mind and the eye are being trained to discriminate between the essentials and non-essentials of woman's costume in every-day life. The same young beauty may be interested to know that at the beginning of Geraldine Farrar's career the writer, visiting with her, an exhibition of pictures in Munich, was amazed at the then, very young girl's familiarity with the manner of artists—ancient and modern,—and exclaimed "I did not know you were so fond of pictures." "It's not that," Farrar said, "I get my costumes from them, and a great many of my poses."

PLATE XVII

Portrait of Mrs. Philip M. Lydig, patron of the arts, exhibited in New York at Duveen Galleries during Winter of 1916-1917 with the Zuloaga pictures. The exhibition was arranged by Mrs. Lydig.

This portrait has been chosen to illustrate two points: that a distinguished decorative quality is dependent upon line which has primarily to do with form of one's own physique (and not alone the cut of the costume); and the great value of knowing one's own type.

Mrs. Lydig has been transferred to the canvas by the clever technique of one of the greatest modern painters, Ignacio Zuloaga, an artistic descendant of Velasquez. The delightful movement is that of the subject, in this case kept alive through its subtle translation into terms of art.

Outline and material being decided, give your attention to the character of the background against which you are to appear. If it is a ball-room, and the occasion a costume-ball, is it done in light or dark colours, and what is the prevailing tone? See to it that you settle on a colour which will be either a harmonious note or an agreeable, hence impressive contrast, against the prevailing background. If you are to wear the costume on a stage or as a living picture against a background arranged with special reference to you, and where you are the central figure, be more subtle and combine colours, if you will; go in for interesting detail, provided always that you make these details have meaning. For example, if it be trimming, pure and simple, be sure that it be applied as during your chosen period. Trimming can be used so as to increase effectiveness of a costume by accentuating its distinctive features, and it can be misused so as to pervert your period, whether that be the age of Cleopatra, or the Winter of 1917. Details, such as lace, jewels, head-dresses, fans, snuff-boxes, work baskets and flowers must be absolutely of the period, or not at all. A few details, even one stunning jewel, if correct, will be far more convincing than any number of makeshifts, no matter how attractive in themselves. Paintings, plates and history come to our rescue here. If you think it dry work, try it. The chances are all in favour of your emerging from your search spell-bound by the vistas opened up to you; the sudden meaning acquired by many inanimate things, and a new pleasure added to all observations.

That Spanish comb of great-great-grandmother's is really a treasure now. The antique Spanish plaque you own, found to be Moorish lustre, and out of the attic it comes! A Spanish miracle cross proves the spiritual superstition of the race, so back to the junk-shop you go, hoping to acquire the one that was proffered.

Yes, Carmen should wear a long skirt when she dances, Spanish pictures show them; and so on.