For a symmetrical window a centerpiece is always necessary. It may be an arch, a pair of steps, a circular recess, or whatever you choose, but the center is always the most important point of your trim. Good windows are sometimes made by building out the sides uniformly and drawing them toward the center, but it requires much skill to do this successfully, and even then you cannot ignore the center, where the eye of the observer rests first and most frequently. This is the reason a small window is often as effective as a large one. A large window can, of course, show more goods and more detail, but all this is accessory to the centerpiece, and the main idea of any big window can always be reproduced in a smaller one by leaving out some of the details and accessories, and, perhaps, reducing the size of the centerpiece. Circles or sections of circles are best for frameworks, as nothing is so graceful as a circle. Squares, triangles, etc., are stiff as compared to circles, and are difficult to trim. Even steps, or series of shelving, are best made in circular form. Pillars are useful in many ways. They support arches or platforms, and may be used independently for many lines of goods.
Aim to have the heaviest part of your trim in the center. The extreme sides, or ends, of your window may be next heaviest or fullest. Between the center and the ends the trim should be lightest; but this depends considerably on the shape of your window and the character of the trim. If you have no judgment don’t attempt to trim windows. Aside from an artistic eye and deft workmanship the only other requisite of a successful trimmer is common sense.
Do not place your trim too near the window pane, as it destroys the effect of the best display. Unless goods are very small indeed they will look better the farther they are removed from the pane. The floor space in front of the main trim may always be utilized to good advantage.
And, speaking of floors, I am not in favor of what are called “floor trims” in any line of merchandise. They do not attract one unless he deliberately stops to gaze into a window, and few people do that in this busy age. Raise your trim to the center of the window, even if it is composed of small wares, and then it will arrest the gaze of the passerby.
The suggestions I have offered are of necessity general in their scope, and I advise you to study all the good windows you may see. Don’t be content to copy them, however, but improve upon them. Some other man’s idea will frequently give you an idea of your own that is vastly better. Originality alone does not always win. It is better to copy a good window than to originate a poor one. And to originate a good window is better yet.
Where the window dresser is required as a salesman during the day, the decorating is done late in the evening, when a screen is not at all necessary.
CHAPTER VIII.
SHOW WINDOW UPHOLSTERY.
HOW TO DRAPE.
Unless a window dresser is thoroughly conversant with the art of draping he will not be recognized as accomplished. Yet there are many professional trimmers who, it must be admitted, create wonders in their line while unable to put up an effective drape. This statement may be denied by many trimmers, and it surely sounds rather strange. However, I wish to argue on this subject and shall at the same time endeavor to give those not fully posted on the knack of draping some practical hints and suggestions.
If a man in a smaller town who takes care of the show windows is not acquainted with this branch of trimming, you need not feel surprised, as he has little or no chance to see and learn. It is naturally easier for him to learn pleating, puffing, and to make his wooden fixtures, than to put up an artistic drape, simply because he can acquire great ability and skill in these lines of work without being instructed, while many men will never learn how to drape until they are shown how to do it.