How to Behave: A Pocket Manual of Republican Etiquette, and Guide to Correct Personal Habits. Wells Samuel Roberts

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СКАЧАТЬ the reigning Mode, whatever it may be, leaves us little room for choice in materials, forms, and colors, and the choice we make indicates our prominent traits of character.

      II.—THE USES OF DRESS

      "Dress," that admirable Art Journal the Crayon says, "has two functions—to clothe and to ornament; and while we can not lose sight of either point, we must not attribute to the one a power which belongs to the other. The essential requirement of dress is to cover and make comfortable the body, and of two forms of dress which fulfill this function equally well, that is the better which is most accordant with the laws of beauty. But fitness must in nowise be interfered with; and the garb which infringes on this law gives us pain rather than pleasure. We believe that it will be found that fitness and beauty, so far from requiring any sacrifice for combination, are found each in the highest degree where both are most fully obtained—that the fittest, most comfortable dress is that which is most graceful or becoming. Fitness is the primary demand; and the dress that appears uncomfortable is untasteful.

      "But in the secondary function of dress, ornamentation, there are several diverse objects to be attained—dignity, grace, vivacity, brilliancy, are qualities distinguishing different individuals, and indicating the impression they wish to make on society, and are expressed by different combinations of the elements of beauty, line, or form, and color. When the appareling of the outer being is in most complete harmony with the mental constitution, the taste is fullest."

      III.—THE ART OF DRESS

      True art adapts dress to its uses, as indicated in the foregoing extract. It is based on universal principles fundamental to all art.

      The art-writer already quoted says, very truly, that "Dress is always to be considered as secondary to the person." This is a fundamental maxim in the art of costume, but is often lost sight of, and dress made obtrusive at the expense of the individuality of the wearer. A man's vest or cravat must not seem a too important part of him. Dress may heighten beauty, but it can not create it. If you are not better and more beautiful than your clothes you are, indeed, a man or a woman of straw.

      The next principle to be regarded is the fitness of your costume, in its forms materials, and colors, to your person and circumstances, and to the conditions of the time, place and occasion on which it is to be worn. Fashion often compels us to violate this principle, and dress in the most absurd, incongruous, unbecoming, and uncomfortable style. A little more self-respect and independence, however, would enable us to resist many of her most preposterous enactments. But Fashion is not responsible for all the incongruities in dress with which we meet. They are often the result of bad taste and affectation.

      The first demand of this law of fitness is, that your costume shall accord with your person. The young and the old, we all instinctively know, should not dress alike. Neither should the tall and the short, the dark and the light, the pale and the rosy, the grave and the gay, the tranquil and the vivacious. Each variety of form, color, and character has its appropriate style; but our space here is too limited to allow us to do more than drop a hint toward what each requires, to produce the most harmonious and effective combination. In another work,1 now in the course of preparation, this important subject will be treated in detail.

      "In form, simplicity and long, unbroken lines give dignity, while complicated and short lines express vivacity. Curves, particularly if long and sweeping, give grace while straight lines and angles indicate power and strength. In color, unity of tint gives repose—if somber, gravity but if light and clear, then a joyous serenity—variety of tint giving vivacity, and if contrasted, brilliancy."

      Longitudinal stripes in a lady's dress make her appear taller than she really is, and are therefore appropriate for persons of short stature. Tall women, for this reason, should never wear them. Flounces are becoming to tall persons, but not to short ones. The colors worn should be determined by the complexion, and should harmonize with it. "Ladies with delicate rosy complexions bear white and blue better than dark colors, while sallow hues of complexion will not bear these colors near them, and require dark, quiet, or grave colors to improve their appearance. Yellow is the most trying and dangerous of all, and can only be worn by the rich-toned, healthy-looking brunette."

      In the second place, there should be harmony between your dress and your circumstances. It should accord with your means, your house, your furniture, the place in which you reside, and the society in which you move.

      Thirdly, your costume should be suited to the time, place, and occasion on which it is to be worn. That summer clothes should not be worn in winter, or winter clothes in summer, every one sees clearly enough. The law of fitness as imperatively demands that you should have one dress for the kitchen, the field, or the workshop, and another, and quite a different one, for the parlor; one for the street and another for the carriage, one for a ride on horseback and another for a ramble in the country. Long, flowing, and even trailing skirts are beautiful and appropriate in the parlor, but in the muddy streets, draggling in the filth, and embarrassing every movement of the wearer, or in the country among the bushes and briers, they lose all their beauty and grace, because no longer fitting. The prettiest costume we have ever seen for a shopping excursion or a walk in the city, and especially for a ramble in the country, is a short dress or frock reaching to the knee, and trowsers of the common pantaloon form, but somewhat wider. Full Turkish trowsers might be worn with this dress, but are less convenient. The waist or body of the dress is made with a yoke and belt, and pretty full. The sleeves should be gathered into a band and buttoned at the wrist. A saque or a basque of a different color from the waist has a fine effect as a part of this costume. Add to it a gipsy hat and good substantial shoes or boots, and you may walk with ease, grace, and pleasure. This was the working and walking costume of the women of the North American Phalanx, and is still worn on the domain which once belonged to that Association, though the institution which gave it its origin has ceased to exist. If you reside in a place where you can adopt this as your industrial and walking costume, without too much notoriety and odium, try it. You must judge of this for yourself. We are telling you what is fitting, comfortable, and healthful, and therefore, in its place, beautiful, and not what it is expedient for you to wear. The time is coming when such a costume may be worn anywhere. Rational independence, good taste, and the study of art are preparing the way for the complete overthrow of arbitrary fashion. Help us to hasten the time when both women and men shall be permitted to dress as the eternal principles, harmony, and beauty dictate, and be no longer the slaves of the tailor and the dressmaker.

      But without adopting any innovations liable to shock staid conservatism or puritanic prudery, you may still, in a good measure, avoid the incongruities which we are now compelled to witness, and make your costume accord with place and occupation.

      In the field, garden, and workshop, gentlemen can wear nothing more comfortable and graceful than the blouse. It may be worn loose or confined by a belt. If your occupation is a very dusty one, wear overalls. In the counting-room and office, gentlemen wear frock-coats or sack coats. They need not be of very fine material, and should not be of any garish pattern. In your study or library, and about the house generally, on ordinary occasions, a handsome dressing-gown is comfortable and elegant.

      A lady, while performing the morning duties of her household may wear a plain loose dress, made high in the neck, and with long sleeves fastened at the wrist. It must not look slatternly, and may be exceedingly beautiful and becoming.

      In reference to ornament, "the law of dress," to quote our artist-friend again, "is, that where you want the eye of a spectator to rest (for we all dress for show), you should concentrate your decoration, leaving the parts of the apparel to which you do not want attention called, as plain and negative as possible—not ugly, as some people, in an affectation of plainness, do (for you have no right to offend the eye of your fellow-man with any thing which is ugly), but simply negative."

      IV.—MATERIALS, СКАЧАТЬ