DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.20712#0029
A Letter
“ la glebe ” (Photograph by P. Becker) by Constantin meunier
century costume is not usefully suggestive to present-
day dress designers. Fourteenth-century women
did not jump in and out of buses and trams; their
trains and long hanging sleeves would have been
much in the way if they had. Neither is Greek
costume suggestive, because such draperies must
be worn without underclothing; and because, like
the Greeks, we should have to cast off most of
these draperies, if we wore them, before engaging
in any active work or play.
There is often a very good thing iA costume
appearing from time to time, even in our modern
fashion plates, if only it were allowed to remain
with us.
The non-“ aesthetic ” dresses of 1879-81 were
remarkably beautiful for the way in which they
followed the natural lines of the figure, and
much may be said in favour of the period of
1900-1901. There have been hideous interludes
—the “crinolette” period and the still uglier
“bustle” period; the “leg
of mutton” sleeve of 1895
or thereabouts; and the
reappearance of this pro-
portion-destroying atrocity
to-day.
The suitability of colour
to material is often lost
sight of. What could be
more inappropriate to a
rough, unwashable tweed
than a colour like turquoise
blue, strawberry pink, and
those abominations known
as “ pastel shades ? ”
Why do so many women
say, “It is no good
having a really good dress ;
I get so tired of myself
in it.” Does she get
tired of herself in a really
nice house, or does a man
ever say he gets tired of
himself in a well-fitting
suit ? This remark is the
outcome of a vacant mind ;
the monotony is in the
person, not in the dress ;
and for such persons the
whirling change of fashion
will always have an attrac-
tion— “fashion,” devised
to tempt them by the man
who wants to sell quan-
tities of machine-made goods every year, whether
they are needed or not.
Has the person who says, “ I must wear a large
picture hat even in winter, because I have a large
face,” has she ever caught sight of her whole figure
suddenly in a long glass ?
This remark of hers certainly comes from the
too general habit of regarding the face only when
a hat is chosen, instead of the general effect of the
whole figure. How can anyone who knows or appre-
ciates the difference between a handwrought silver
cup and the stamped imitations of it one sees by
the hundred in silversmiths’ shop windows, how
can this person wear a ready-made coat?
Let us be consistent, and let us wear no jewellery,
lace, embroidery, etc., unless we can have the real
thing. Even if we can’t have any real decoration
at all, we shall go very well undecorated. Most
people will admit that the average hospital nurse
is well and becomingly dressed. She wears the
“ la glebe ” (Photograph by P. Becker) by Constantin meunier
century costume is not usefully suggestive to present-
day dress designers. Fourteenth-century women
did not jump in and out of buses and trams; their
trains and long hanging sleeves would have been
much in the way if they had. Neither is Greek
costume suggestive, because such draperies must
be worn without underclothing; and because, like
the Greeks, we should have to cast off most of
these draperies, if we wore them, before engaging
in any active work or play.
There is often a very good thing iA costume
appearing from time to time, even in our modern
fashion plates, if only it were allowed to remain
with us.
The non-“ aesthetic ” dresses of 1879-81 were
remarkably beautiful for the way in which they
followed the natural lines of the figure, and
much may be said in favour of the period of
1900-1901. There have been hideous interludes
—the “crinolette” period and the still uglier
“bustle” period; the “leg
of mutton” sleeve of 1895
or thereabouts; and the
reappearance of this pro-
portion-destroying atrocity
to-day.
The suitability of colour
to material is often lost
sight of. What could be
more inappropriate to a
rough, unwashable tweed
than a colour like turquoise
blue, strawberry pink, and
those abominations known
as “ pastel shades ? ”
Why do so many women
say, “It is no good
having a really good dress ;
I get so tired of myself
in it.” Does she get
tired of herself in a really
nice house, or does a man
ever say he gets tired of
himself in a well-fitting
suit ? This remark is the
outcome of a vacant mind ;
the monotony is in the
person, not in the dress ;
and for such persons the
whirling change of fashion
will always have an attrac-
tion— “fashion,” devised
to tempt them by the man
who wants to sell quan-
tities of machine-made goods every year, whether
they are needed or not.
Has the person who says, “ I must wear a large
picture hat even in winter, because I have a large
face,” has she ever caught sight of her whole figure
suddenly in a long glass ?
This remark of hers certainly comes from the
too general habit of regarding the face only when
a hat is chosen, instead of the general effect of the
whole figure. How can anyone who knows or appre-
ciates the difference between a handwrought silver
cup and the stamped imitations of it one sees by
the hundred in silversmiths’ shop windows, how
can this person wear a ready-made coat?
Let us be consistent, and let us wear no jewellery,
lace, embroidery, etc., unless we can have the real
thing. Even if we can’t have any real decoration
at all, we shall go very well undecorated. Most
people will admit that the average hospital nurse
is well and becomingly dressed. She wears the