When correctly posed, this pointed head-dress is a delight to the eye. We recently saw a photograph of some fair young women in this type of Mediæval or Gothic costume worn by them at a costume ball. Failing to realise that the pose of any head-dress (this means hats as well) is all-important, they had placed the quaint, long, pointed caps on the very tops of their heads, like fools' caps!
The angle at which this head-dress is worn is half the battle.
The importance of every woman's cultivating an eye for line cannot be overstated.
In the fifteenth century we first see puffs at the elbow, otherwise the outlines of gown are the same. The garment in one piece, the body of it outlining the form, its skirts sweeping the ground; a girdle about the hips, and long, close or flowing sleeves, wide at the hem.
Despite the fourteenth century innovation of necks cut low and off the shoulders (berated by the Church), most necks in the fifteenth century are still cut round at the throat, and the necklace worn instead of collar. Some of the gowns cut low off the shoulders are filled in with a puffed tucker of muslin. The pointed cap with a floating veil is still seen.
Notice that the restraint in line, colour and detail, gradually disappears, with the abnormal circulation of wealth, in those departments of Church and State to which the current of material things was diverted. We now see humanity tricked out in rich attire and staggering to its doom through general debaucheries.
Rich brocades, once from Damascus, are now made in Venice; and so are wonderful satins, velvets and silks, with jewels many and massive.
Sometimes a broad jewelled band crossed the breast from shoulder diagonally to under arm, at waist.
The development of the petticoat begins now. At first we get only a glimpse of it, when our lady of the pointed cap lifts her long skirts, lined with another shade. It is of a rich contrasting colour and is gradually elaborated.
The waist-line, when indicated, is high.