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COSTUME
SILHOUETTES

MARY EVANS, B.S.

‘J. B. LIPPINCOTT COMPANY

PUP BUN CO Ton Ni Dee TS

Epitep spy BrngamMin R. ANprews, Pu.D., TeacnEers CoLLeGr, CotumBriA UNIVERSITY

COSTUME SILHOUETTES

BY
MARY EVANS, B.S.

INSTRUCTOR IN HOUSEHOLD ARTS, TEACHERS COLLEGE,
COLUMBIA UNIVERSITY

ON a Se
ene. ch.
‘Aa :
ait 7
mi @

DIPPINGODT Ss UNIT TEXTS

Epitep sy Benyamin R. Anprews, Pu.D., Tracuers Cotitecr, Cotumspra University

COSTUME
SILHOUETTES

MARY EVANS, B.S.

INSTRUCTOR IN HOUSEHOLD ARTS, TEACHERS COLLEGE,
COLUMBIA UNIVERSITY

WITH 19 ILLUSTRATIONS OF HISTORIC AND MODERN
SILHOUETTES OF COSTUME

PHILADELPHIA CHICAGO LONDON
J.B. LIPPINCOTT COMPANY

PRINTED BY J. B. LiPPINCOTT COMPANY
AT THE WASHINGTON SQUARE PRESS
PHILADELPHIA, U. 8. A.

ss 1 Ba

Evie

'
CONTENTS
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EE Has PATTI OMNITO DLE, AGES © uaa cents eee eho kis cb Sais bb bob eho ee le Dare dees cues 8
MEE RN TH CONTURY SILHOUBTTES, 0% sis 00 41 ob $s as bs fe castes Gb bes hee deees es 12
THE SILHOUETTES OF THE SEVENTEENTH CENTURY. ........ 000s cece cee cvcreaceesseceuce 16
POET YMENTH CENTURY SILHOUETTES. . oo ..c ccc ccc oe ewe ww nvivcnctastevoaceeeenes 20
oeerrie OF THE NINETEENTH CENTURY... <0 .020cscc ce vceevsccswhadascevctsevaces 26
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ay Oa ATW Ra ob gg Gite Se ae a oak pe a eae Ra Reg a eg 38
eR TYR TH OU Bie OF OTH 1S BOOK 57) ciate cs voc ol ee Ww eee ded ee Ne dey wa do ego 40
BIBLIOGRAPHY..... NR en eee ihe eas, ete atom co piuahe Le bgre tad «at etal aah ota 43
TRS oes ss IAP A eae eee ei erie aoe ts AGM SM pated Male Se Vhs lo eck 51

531849

COSTUME SILHOUETTES

INTRODUCTION

For those interested in the artistic, economic, or historic phases of costume a
study of the silhouette possesses considerable interest and value.

As the average person is usually inclined to give attention to a particular detail
or part of a costume, for instance a sleeve or head-dress, without much considera-
tion of its effect on the entire costume, a study of silhouette demonstrates very
simply the necessity for the right relation of each part of the costume to the whole,
as well as to the figure of the wearer. Furthermore, it is apparent to the most casual
observer that there is always a definite silhouette of fashion, rapid as are its changes
in this present century, and that to avoid being conspicuous and eccentric in
appearance, one should keep more or less to the general silhouette of the day. The
well dressed woman, however, does not follow it slavishly, but rather adapts and
modifies it to suit her particular type and mode of life.

The study of the silhouette of other days is especially suggestive to the modern
designer, alert as she is for new ideas to adapt to present day dress. It also aids
her in knowing what to avoid as well as what to select and modify, for no good
designer would contemplate placing before the public reproductions of the dis-
torted figures made in the past by certain innovations of dress.

For the student of costume, silhouettes illustrate in a graphic, broad, and
definite manner the gradual changes in the outlines of costume resulting from the
progress and development of commerce and art; of political, social, and religious
ideas from the earliest period of Egyptian civilization to modern times.

Many of the figures on the succeeding pages have been made from illustra-
tions in the following books on costume: Racrnget, “Le Costume Historique’’;
Horr, “Costumes of the Ancients”; KRETSCHMER, “Costumes of All Ages, Ancient
and Modern”’; ‘“‘Zur Geschichte der Costume’, and Pavuquset FrReErRsgs, “Modes et

Costumes Historiques.”’
1

THE EGYPTIAN SILHOUETTE

THE silhouette of the ancient Egyptian woman, peasant and princess alike,
seems to have shown a great disinclination to change; a marked contrast to the
very frequent changes which take place in that of our modern costume. For
over a thousand years, from the beginning of the Old Kingdom, 2980 B. C., to
the Empire, 1580 B. C., the Egyptian woman wore a straight, simple dress
which hung from the breast to the ankles, supported by a strap or brace over
one shoulder. This dress was very narrow, without folds, of soft, transparent
material, wool or linen, and clung closely to the figure. Early in the Empire the
dress was carried over the left shoulder, and soon a sleeve was added. In this
ame period the straight, simple silhouette characteristic of the early costume
was broadened somewhat when the full, plaited, transparent over-dress and the
long, loosely flowing cloak were introduced.

The hair, elaborately dressed and hanging in heavy tresses over the shoulder,
played an important réle in the making of the silhouette. Straight at first, the
hair was later, in the Empire, braided and curled in a very elaborate manner.

Fig. 1.

THE GRECIAN SILHOUETTE

In THE figure opposite we see the silhouette of that costume which forms our
ideal of proportion and grace of line. The Grecian chiton, or dress, of the Classical
period, falling from the shoulders to the feet and held in at the waist or just below
the bust, by a cord or girdle, allowed the utmost freedom of motion to the body.
In this particular it was a marked contrast to the sheath-like garment of the
Egyptians. The top of the rectangular piece composing this garment was folded
down about a foot or more from the point of attachment at the shoulders, and
fell in soft, graceful cascades on the sides from the shoulders to the hips. The
material used by the Grecians in their chitons was at first usually of wool or
linen, silk having been introduced from the Orient and worn in the later historical
period; soft, sometimes crepe-like in texture, the fabric added its share to the long,
graceful folds which we see represented in the old Greek statues.

The coiffure of the Grecian woman followed the contour of the head, the hair
being usually parted, drawn back from the face, and fastened in a knot at the
back of the head. Fillets were frequently wound several times around the head,
or these were replaced by the splendone, a band of ornamental cloth or leather,
and by hair nets, all helping to keep the profile simple and natural. As the
Grecian woman wore no hat during her rather infrequent journeys from home a
sheer, thin veil of cotton, or a fold of her mantle formed a protection for her
head and face.

QUESTIONS

1. Why is it that the costume of the Grecian woman is considered the best in design of all the types of costumes
which have been developed throughout the ages?

2. Collect clippings of modern dresses which have sleeves showing suggestions of Grecian drapery.

3. Which materials in fashion today lend themselves to the soft drapery mentioned above?

4. Find a picture of “The Porch of the Maidens” in a geography, history, or history of art text-book and try

to drape on yourself the dress or chiton represented.

Fie. 2

THE SILHOUETTE OF THE ROMAN WOMAN

As THE stola, or dress, of the Roman matron was so similar to the chiton of the
Grecian woman it seems hardly necessary to include a description of it here. The
silhouette on the following page is that of the Roman woman wearing her palla,
or wrap, which in cut and manner of wearing resembled the himation, or mantle
of the Greeks.

This shawl-like wrap was a rectangular piece of white, woolen material draped
around the body in a simple and graceful manner. One side of the rectangle was
drawn over the left shoulder, the corner, usually weighted, hanging below the
knee; then was drawn across the back, under the right arm, and the other end
thrown over the left arm or shoulder according to the wearer’s fancy. Fig. 3 shows
the palla brought up from the shoulder to form the head covering referred to in the
preceding description, as well as the short sleeves of the stola, some form of sleeve
being almost always found in the Roman stola or tunic. The bracelet at the
wrist is an indication of the fondness for jewelry displayed by the wife of the
Roman citizen.

QUESTIONS

1. Compare the costume silhouette of the Greeks with that of the Romans in the pictures and casts in the class room
and halls of your school; or compare pictures in histories or in encyclopedia articles.

2. Using a large rectangle of cloth and following the description above, drape on yourself the palla a3 worn by the
Roman woman. What suggestions does this offer for a modern wrap? What type of woman do you think could wear suc-
cessfully an adaptation of this Roman garment?

3. Look up “silhouette” in the Encyclopedia Britannica. How does the term apply to costume?

Fie. 3.

SILHOUETTES OF THE MIDDLE AGES

As FrENcH costume is the basis of practically all of our modern dress, we must
turn next to the simple tunics and wraps which clothed the early inhabitants of
that country we now call France. The ancestors of the French, the Gauls and the
Franks, wore tunics and flowing mantles which gradually increased in length and
fullness as the ideas brought by their warriors from Italy and later by the Cru-
saders from the East were adopted. In general the costume of the earlier centuries
of the Middle Ages, which began with the fall of Rome in 476 and continued until
1500, hung loosely from the shoulders: it was sometimes held in slightly by a broad,
ornamented girdle, and had long, flowing sleeves. Over this dress was worn a
long, loose mantle, while the head was covered by a large, embroidered veil, the
latter being the article of attire decidedly characteristic of the woman of the Franks.

By the twelfth century the dress of the women became more fitted, a pliable
material being used for the upper part of the dress which was closely drawn to the
form and laced in the back or under the arm. The skirt fell in straight, fine folds
to the ground; the sleeves were either bell-shaped, long and flowing, or long and
close fitting. A small, circular veil surmounted by a circlet and showing the hair,
which was worn in long braids or flowing, replaced the earlier large veil, and was
in turn succeeded in many instances by the wimple, that linen head-dress which
completely covered the hair, the sides of the face, and the chin, and which to-day
is worn in a modified form by the nuns of some religious orders.

The new and characteristic garment of the thirteenth century, the surcot,
made no radical change in the silhouette, but in the fourteenth and fifteenth
centuries we find a decided tendency away from the long, straight dress hang-
ing loosely from the shoulder to the more fitted costume of the succeeding four
hundred years. . a ,

Characteristics of the art of the Moyan Age were frequently reflected in the
costume of the time. In Gothic architecture the note of emphasis is found in the
long and pointed arches; in the straight, clinging lines of the garments; the points
of the shoes, and the tall head-dresses of the fourteenth and fifteenth centuries,

this same idea of length and heighth was carried out. This period from 1300 to
1500 was full of the eccentricities of extreme fashion, and in the silhouette of
these years we see the very short, tight bodice with long flowing skirt; the pointed
shoes which frequently reached the length of two feet; and the high, unwieldly
head-dresses. These Moyan Age head-dresses, or hennins, were cone-shaped,
heart-shaped, round and pointed; they completely covered the hair, and were
frequently cne yard in height. Many of the cone-shaped hennins had attached
to them enormous wire frames which were covered with stiffly starched gauze.
We are told by historians that Isabelle, the wife of Charles VI of France, wore
such extremely high head-dresses that the door-ways of her castle of Vincennes had
to be raised in order to accomodate her.

The materials of which these costumes were made were cloth, velvet, rich
damasks, and other handsome silks.

QUESTIONS

1. Would the type of silhouette shown in Fig. 5 be practical for the modern woman? List your reasons in favor of
or against this silhouette for present day use

2. Does the architecture of our homes have any restaining influence on our costume? If so, what?

3. What points of similarity do you find in Gothic architecture and the costumes of the latter part of the Middle Ages?

4. What are the sources of inspiration for the designing of the long, flowing sleeves, so generally worn in 192%?

Fia. 5.

THE SIXTEENTH CENTURY SILHOUETTES

AFTER a period of transition, the latter part of the fifteenth century and the
early part of the sixteenth century, when the eccentric costume of the Middle
Ages gradually disappeared and was replaced by one more simple and digni-
fied (Fig. 6), we find a great change in the silhouette due to the introduction
of the corset, known then as the basquine, and the hoop, or vertugale. This
first hoop made the skirt funnel-shaped in appearance, narrow at the waistline and
spreading to considerable width at the feet. The bodice, worn over the basquine,
was tight fitting and had bell-shaped sleeves which in many instances were edged or
lined with fur. In this century the sleeves were objects of especial extravagance:
they were heavily embroidered, slashed, and otherwise ornamented with furs,
laces and jewels, and were not always attached to the gown but hung free from
the shoulders.

The head-dress of the lady of the Renaissance was simple and becoming; a
refreshing contrast to the ridiculous hennins of the preceding years. The hair was
arranged with soft curls below the small, close fitting cap, made of rich materials
and the precious jewels which were used in such profusion during the Renaissance.

The portraits of Catherine de Medici and Queen Elizabeth portray for us
the distorted silhouette which was characteristic of the late Renaissance costume
(p. 15). The vertugale became barrel-shaped, extra skirts being worn to give
greater bulk, while the size of the hips was increased by the wearing of plaited
ruffles about the waist. The whalebone corset made the waistline very small and
extremely pointed in front. Ruffs, introduced from Italy, became very popular at
this time, soon growing to such proportions that wire frames were necessary to
support the mass of starched, fluted cambric edged with beautiful Florentine and
Venetian laces and cutwork. The ruffs, both the round and standing ones, necessi-
tated a high dressing of the hair. In order to balance the size of the skirts the
sleeves were quite voluminous at the top, the ancestors of the nineteenth century
leg o’mutton sleeves.

As heaviness and bulk seemed to be desirable features, such materials as

would further this effect were chosen by the woman of fashion. Rich velvets,
velours, satins and damasks, as well as cloth of silver and gold composed these

gorgeous costumes.
QUESTIONS

1. Make a collection of pictures of famous French and English personages of the sixteenth century and compare the

costumes worn in the two countries at this time
2. What suggestions for modern costume do you find in that of the sixteenth century?

THE SILHOUETTES OF THE SEVENTEENTH
CENTURY

Tue disappearance of the hoop in the early years of the seventeenth century
caused a change in the outline of the costume worn by the woman of fashion. Its
influence, however, was still apparent in the drapery and puffing of the overskirt
at the hips. The corset remained in fashion as did the fitted bodice, the waistline
of which was somewhat pointed in front or, in some cases, raised slightly above the
normal position and straight. Over the rather even, round length, underskirt was
worn an overskirt which was open in front, its fullness falling in long, graceful folds,
or arranged in draperies at the sides. This overdress was frequently very long
and trailing.

The neckline of the early seventeenth century bodice was usually round
and finished with a wide collar, either flat or wired to stand away from the head,
With the long, full, slashed sleeves were worn the turned-back cuffs, lace-edged to
repeat the decoration of the collar.

In the latter part of the century, during the reign of Louis XIV (1643-1715),
there was greater elaboration of detail in costume, while the general lines remained
unchanged. The sleeves decreased in fullness and length, reaching to the elbow,
and were finished with soft ruffles. The large collar and cuffs of the earlier years
disappeared, while the neckline, as a rule, adhered more closely to the neck at the
sides than formerly.

The passing of the ruff from the realm of fashion permitted a low dressing of
the hair, which was knotted mn the back and worn in soft curls about the face
until 1680 when the elaborate coiffure a la Fontage became the favorite of the
fashionable world.

The materials of the seventeenth century were exceedingly rich and deco-
rative. Heavy satins, brocades, and velvets, as well as handsome transparent
fabrics added to the effectiveness of the costume.

QUESTIONS

1. Make a study of the portraits of the seventeenth century; then cut in muslin, or other practice material, sev-
eral collars similar in line to those in the portraits and try the collars on various classmates. Note what effect the falling,
broad collar has on a person with:

a. Square shoulders.

b. Sloping shoulders.

c. A long, slender neck.

d. Hair dressed high on the head.

2. Compare the collars and cuffs of the Puritans of New England, with those worn by the French and English at
this time.

38. Make a collection of samples of materials, which would be suitable for use in obtaining silhouettes, similar to those

in Figs. 8 and 9.

THE EIGHTEENTH CENTURY SILHOUETTES

EVEN as we revert to the old-period costumes for ideas and suggestions for
our present day wardrobe, the leaders of fashion in the eighteenth century turned
for inspiration to the sixteenth century and later, to classical Greece and Rome.

About the year 1718 the hoop returned to popular favor, becoming the domi-
nant feature of the eighteenth century costume up to the Revolutionary period
(1789-1799). The panier, as the hoop was then called, was at first of moderate
size but soon became of exaggerated width at the sides, still remaining flat in
front and back. It was worn with the one-piece princess dress which hung semi-
fitting in front, and with plaits from the shoulders to the ground in the back, the
dress pictured so frequently by Watteau in his exquisite canvases. Of the two-
piece costume consisting of an elaborately decorated skirt and tight, pointed
bodice with its short sleeves and square or rounding neckline, the panier was
also an important feature. The skirts were frequently short in order to display
the dainty clocked stockings and high-heeled slippers with their accompanying
buckles at the instep.

In the early part of the period of Louis XV the hair was dressed very simply;
waved and combed back from the forehead. It remained, however, for Marie
Antoinette and her ladies to introduce the elaborate coiffures and extreme head-
dresses, which call to mind the absurdities of the Middle Ages. On top of the
elaborate erections of gauze and puffs were placed feathers, ribbons, flowers, and
curious ornaments representing landscapes, ships or events of a political or
social nature. |

The materials of this century were generally simpler in design, of more deli-
cate values, and lighter in effect than the gorgeous fabrics of the preceding one.
Taffetas, plain, striped, and small patterned, came into fashion during the reign of
Louis XV and were admirably suited to the puffs and draperies of Milady’s gown.
The heavy Venetian and French point laces, being too heavy for the delicate
new fabrics, were replaced by the lighter French and Flemish laces such as Point

d’Alencon, Valenciennes, and Mechlin which added grace and delicacy to this
exaggerated but withal charming costume.

With the French Revolution there came the natural reaction away from
everything favored by the former monarchy. Costly materials, the corset, and
the panier were alike discarded, and women, in their effort to obtain something
entirely different, turned to a period far removed. The excavations of Pompeii
and the campaigns of Napoleon taking place at that time in the countries of the
Mediterranean turned popular attention to classical civilization, and by the time
of the Directorate, 1795-1799, we see the third great change in silhouette, one
based on the garments of Greece and Rome. The short waist and tiny sleeve,
the long, straight, and narrow skirt of simple, inexpensive muslin, lawn, and
India prints became the fashion of the day. The hair dressing was a more or
less faithful reproduction of that of the old Greek and Roman statues, though
for some devotees of the new order long hair was a thing of the past, short hair
a la Titus being the vogue. The shorn locks of the victims of the guillotine were
the direct inspiration of this particular mode of hair dressing, known also as the

coiffure ‘a la Victime.’

QUESTIONS

1. Make a study of the costume silhouette of the American women, during the period of the Revolution. How does

it differ from that worn by the French women, at the same time?
2. Compare carefully Fig. 10 with Fig. 12, from the point of view of:
a. Picturesqueness.
b. Practicability.
c. Healthfulness.
3. Would you favor a revival of the style of hairdressing fashionable during the reign of Marie
not, give reasons for your objections.
4. What effect would a silhouette similar to that of Tig. 11 have on a short, stout person?
5. What type of person would the lines of the silhouette in Fig. 12 suit?
6. On what occasions could a gown, with a silhouette adapted from that of Fig. 10 be worn today?

of several gowns, showing adaptations of this silhouette, for members of your class.

Antoinette? If

Make sketches

7. Make a list of famous characters of fiction, whom you remember described as wearing this type of costume.

SILHOUETTES OF THE NINETEENTH CENTURY

THE early part of the nineteenth century saw the classic type of costume
developed into the one which was characteristic of the First Empire (1804-1814),
when the skirts were still straight, with a little fullness, the sleeves long, and
close-fitting, or very short and puffed, and the waist more abbreviated than before.
The materials of the Empire period were heavily embroidered, spangled, and
fringed, reflecting in texture, design and colour the influence of the Orient on
the French at that time.

But this simplicity of silhouette was not destined to be more fortunate than
its predecessors in remaining the favorite of whimsical fashion, for during the
period of the Restoration (1814-1830), a decided change in costume occurred.
The waistline, due to the return of the corset about 1809, was gradually lowered,
until by 1822 it was in its normal position, its size and straightness of line being
emphasized by a tight belt. In order to balance the gradually increasing width of
the bottom of the skirt, a width accentuated by over-abundant decorations, the
sleeves were full at the top with much trimming. This passion for trimming ex-
tended to the hats which were wide in brim, high in crown, and _ profusely
bedecked with flowers and ribbons. The hair was worn high at the back and
gathered into bunches of curls at each side of the forehead.

The general silhouette of the Romantic period (1830-1848), was similar to
that of the Restoration, the drooping shoulder line being its chief characteristic.
The hair arrangment was simpler, the hair being drawn back from the face into
a roll; curls about the face showing beneath the close-fitting bonnet were quite
generally worn.

By the time of the Second Empire (1852-1870), the skirts had increased in
width to such an extent that they remind one of the skirts of the sixteenth cen-
tury. Crinolines and starched petticoats were worn, and usually flounces or
some other form of crosswise decoration were applied to the voluminous skirts.
The close-fitting bodice with its long shoulder remained, but the sleeves became
tight at top, transferring their fullness to below the elbow. Bonnets and small
hats of infinite variety of shapes were the modish head covering of the day.

Fig. 13.

In the year 1870, the crinoline and full skirts finally succumbed to popular
opposition, and were succeeded by the bustle and narrow Chinese skirt, which was
worn over it. By 1875 the skirts were so tight at the knees that great incon-
venience was experienced in walking. The bodice, cut with a peplum below the
waist line, was still close-fitting, and quite generally buttoned to the neck with a
standing collar, the sleeves remaining fairly tight until about 1896, when the
leg o’mutton sleeve reappeared to balance the increasing width of the long skirt.

The fabrics of this century show as great a variety as do the silhouettes,
which they so greatly affected. The embroidered silks and other fabrics of the
First Empire gave way in the time of the Restoration to fine cottons and light
materials which took from the heavy appearance of the voluminous dresses, while
in the Second Empire tulle, organdie, crepe, muslin, together with other light
fabrics were as much in demand as the rich and costly silks manufactured at
Lyons. Serge, cashmere, alpaca, and mohair won popular favor later in the century.

QUESTIONS

1. Analyze carefully the silhouettes of this century, from the point of view of: Balance, relation to the natural lines

of the body, ease and comfort in wearing.
2. Collect family photographs of the time of the Civil War, and make free hand sketches of the silhouettes of the

costumes.
3. Trace the sources of inspiration for the nineteenth century costume silhouettes.

TWENTIETH CENTURY SILHOUETTES

AN EXAMINATION of the preceding pages will show to the observer an ever
increasing number of silhouettes in each of the succeeding centuries. In the first
quarter of this present century fashion has already decreed nearly as many changes
in the outlines of our costumes as there were in the entire nineteenth century.

In the early part of this recent period women fell victims to the very short,
small-waisted corset with its accompanying absurdity, the bustle. Together these
two contrivances so distorted the natural, graceful contour of woman’s body that
today we look with considerable chagrin at the fashions of 1902. Then the full,
trailing, bell skirts, smooth and glove-fitting at the hips, and the broad shoulders
of the high-collared bodices threw into sharp relief the extreme smallness of the
waistline with its rather sharp point in front. The sleeves were fairly tight with
frequently puffs at the wrist, while the hat, short and close-fitting in the back,
and somewhat shovel-shaped in front, perched upon a high pompadour, tried to
balance the broad, sweeping hemline of the skirt.

Within ten years’ time the silhouette had changed to that given by a skirt
narrow at the feet, frequently draped and of uneven hem line, or with a tunic
which reached to just above the knee; a loosely fitting kimono blouse with a V
neck line; a waistline of more generous size and a trifle shorter than the one char-
acteristic of the silhouette of 1902. It is a difficult task to select any hat as typical
of the years 1912 and 1913 as the photographs and fashion magazines of those years
show an infinite variety of sizes and shapes ranging from the small turban with
its upstanding feather, quill, aigrette or bow, to the large picture hat with its
ruche of tulle or drooping feather. The muff, on the contrary, which was carried
to complete the winter costume, was of a definite size and shape, large, and rather
flat. These pillow-like muffs call to mind those carried by the gentlemen of fashion
of the court of Louis XTV (1643-1715).

By 1916 the leaders of fashion had grown tired of long, straight lines and
instituted the bouffant silhouette. Then gradually the skirt became shorter and
narrower. In 1920 the costume consisting of a straight, short skirt, trim box coat

Fic. 17.

or sweater and blouse, struggled for supremacy with the simple chemise dress
which hung from the shoulders in the manner of the dresses of the early Middle
Ages. The penchant for simplicity extended to the hats which, in general, were
small, worn well down over the forehead, and mostly void of any but the very
simplest trimming.

With abbreviated skirts the foot-wear naturally received considerable atten-
tion. Low-cut, flat-heeled shoes, the natural accompaniments of a costume per-
mitting perfect freedom of motion, were worn in all seasons with silk or woolen
hose as the weather and occasion necessitated.

Due to the increase in skill and enterprise of the manufacturers of fabrics
of all kinds, one is amazed at the infinite variety and beauty of the materials
which have been used in the garments of the present century. Each season has
brought forth its own new array of weaves and colors so that every woman has
been able to make her choice from such staples as serge, tweed, broadcloth, velour,
velvet, satin, silk crepe, both transparent and opaque, swiss, organdie, voile,
gingham, heavy or sheer linens. or from the innumerable novelty weaves which have
crowded each other on the shelves of our shops at the opening of each season.

In 1923, we are in a state of transition with all tendencies pointing toward
elongation of the general lines of our costumes. Paris decrees long skirts, long
waist lines, and long sleeves; even the crowns of the hats are increasing in height,
while many women who reveled in the happy freedom of short tresses the last
year or two are beginning to comb the hair back from the face.

One is led to wonder how long, after the novelty has worn away, the women
of America will submit to the restrictions of such styles as the present ones, hay-
ing known and enjoyed as they did the comfort, simplicity, and freedom afforded
by the short, trim, sensible, and attractive costume which resulted from the activ-
ities of women during the World War. It is to be hoped that the universal teach-
ing in our schools today of dress design, economics, and hygiene will result in
more intelligent, thoughtful, and artistic dressing in the immediate future than
we have seen in many of the past ages. Never before in the long history of cos-
tume has there been’ the opportunity for as great independence in the designing
and selection of one’s clothes. Although we are necessarily somewhat restricted
by the offerings of our merchants, the handicap is in reality a small one, for the
wares of all the world are brought to our doors for us to choose from; the range of

prices is normally sufficiently varied to suit the convenience of all; the merchant is
more than anxious to fill our wants; the crafts and art of present day and ancient
peoples are accessible to us for ideas and inspiration; and most important of all,
intelligent public opinion inclines now, as perhaps never before, toward the simple,
appropriate, and beautiful in dress for each and every one.
“Right dress is therefore that which is fit for the station in life, and
the work to be done in it; and which is otherwise graceful—becoming—
lasting—and easy; on occasion, splendid; always as beautiful as possible.
. . .Obeying fashion is a great folly, and a greater crime but gradual
changes in dress properly accompany a healthful, national development.”

—Rwuskin, “Arrows of the Chace.’

Fig. 19.

ONE’S OWN SILHOUETTE

AFTER a study of the outlines of the costume of the women of other days one
is naturally rather curious and concerned about her own silhouette and wonders,
probably, which is the best outline for one of her own particular build.

A comparison of the silhouettes of the eighteenth century, one with the other,
will show quickly and clearly their effect upon the height and breadth of the fig-
ure. The broken silhouette which is broad at the bottom, as shown on p. 19, also
on p. 30, increases the size of the wearer by attracting the eye to the lines which
flow away from the natural ones of the body. The perpendicular, very slightly
broken lines of the Grecian figure on p. 5, as well as those of the costume of the
early nineteenth century (p. 27) by following more nearly the contour of the
body, apparently increase the height of the wearer. By the length of her skirt
the woman of 1798, seemingly added a cubit, more or less, to her stature, while
on the other hand, the flapper of 1922 decreased her height by adopting and wear-
ing the extremely short skirt.

That increase in width at the shoulders may be created by broad collars,
berthas, fischus, and sleeves which are large and full at the top, is demonstrated
by the silhouetted figures of 1558, 1625, and 1832. This suggestion may be fol-
lowed, though not to the extreme which is shown in the cuts, by the person whose
shoulders are narrow and need to be brought into better proportion to the breadth
at the hips.

This simple comparison may offer suggestions to the short, stout person, and
to the one of considerable height and slenderness. It may furnish a clue for the
selection or avoidance of that costume, the outline of which will emphasize char-
acteristics which she may or may not, wish to feature.

Once the general outline has been decided upon, attention must be directed
to the selection of the material which will best carry out the idea in mind. For
the slender woman materials which will stand out from the figure, and give the
feeling of breadth and fullness should be used. Taffeta, organdie, linen, and other
slightly stiff, crisp materials lend themselves very readily to this purpose. Such

soft fabrics as satin, the heavy, non-transparent crepes, velvets, or soft taffeta fall
_in more graceful folds than the materials mentioned above, drape well, and may
be used to advantage by the slender woman who wishes by her silhouette, as well
as by the areas and lines within the same, to emphasize the charm of a grace-
ful, willowy figure. |

By the woman of ample proportions taffeta, organdie, and all other similarly
stiff fabrics must be rigidly avoided as they in no way adapt themselves to the
straight line silhouette which is most suited to the stout figure.

From the eccentric hair arrangements and head coverings shown on the pre-
ceding pages, one may glean suggestions for the framing of the face, and see the
relation of the coiffure and hat to the rest of the costume. The graceful arrange-
ment of the hair by the Grecian women and by the women of the early seven-
teenth and early eighteenth centuries proves how attractive and pleasing a simple
treatment which permits of the following of the natural lines of the head may be.
In decided contrast the elaborate head-dresses of the late eighteenth century as
well as those of the 1830’s are very telling examples of the lack of proportion and
harmony which result from an extreme and unnatural arrangement of woman’s
crowning beauty.

Proportion and balance should be considered in the selection of any type of
hat. The tiny dot of an 1874 hat was probably no more closely related in balance
to the broad, sweeping skirts of that day than was the very wide brimmed hat of
1911 to the accompanying skirts of very meagre width.

The hat of horizontal lines may be worn well by the tall woman, while her
sister with fewer inches to her stature may add to her apparent height by wearing
a hat the lines of which are predominantly vertical, in brim, crown, and trimming.

SUGGESTIONS FOR THE USE OF THIS BOOK

IN orDER to make this book most helpful to those interested in a study of
costume, a few suggestions for the use of the silhouettes are offered. The ver-
satile student and teacher should find many interesting and unique ways in which
the material here embodied may aid in their design and clothing work.

For a class in historic costume these silhouettes traced, cut out of black paper,
with small cardboard standards pasted to the back, or mounted on white muslin
in consecutive order will give a simple, graphic representation of the silhouettes
of the different periods of costume history.

These figures may be used very effectively also in studying the relationship
between the material and the silhouette of any costume, modern as well as his-
toric. With these figures before them and with lengths of different materials,
students may experiment in arranging and pinning the pieces of cloth on forms or
better still, on each other, to see which materials lend themselves to the long,
straight line silhouette, and which to the bouffant, rounding one. Such experi-
ments are of great assistance in the selection of the material and silhouette which
best suit one’s own particular type.

These figures may be of considerable help in any discussion of the hygiene
of dress by showing the restraining, hampering effect on the body of clothes which
do not take into consideration the laws of hygiene. They illustrate as well the
beauty and grace of those garments which permit perfect freedom of motion to
all parts of the body.

More definite suggestions for problems which may be worked out in connec-
tion with the descriptions and figures in this book are as follows:

I. Have a student read to the class from an old novel or short story a de-
scription of a costume which the class may then represent free hand in silhouette
form. This may then be compared with the appropriate silhouette in this series
for interesting variations or likenesses.

II. A grandmother of one of the students may possibly be interested in
describing the costume of her girlhood day to groups of students who would then
make a silhouette of the costume.

III. Have students clip from old and modern magazines a collection of dress
designs, identify and classify them according to the preceding figures for a study of
the sources of modern silhouette.

IV. Have students cut from local papers or sketch the gowns shown in the dis-
play windows of local shops and trace the source of the silhouettes thus obtained.

V. Many of the advertisements in the modern magazines are making use of
historic costume. A group of students may be responsible for collecting clippings
from advertisements of figures which may then be compared with this series of
silhouettes.

VI. Submit to the class a mixed collection of silhouette drawings and ask
for identifications.

VII. The collection by the class of old family photographs and daguerro-
types for comparison with the silhouettes of the nineteenth century may prove
an interesting problem.

VIII. If possible have each student make several tracings of her own out-
line from a full length photograph, and on the tracings sketch the various sil-
houettes given here for her to see exactly the effect each would have in increasing
or decreasing her heighth and breadth.

IX. After examining carefully the series of figures the class may be asked to
select from them elements which suggest dresses for social occasions, for busi-
ness wear, and for use in sports.

X. Samples may be collected and submitted by the class of fabrics which
would be suitable for the silhouettes given.

XI. Students may drape in materials on dress forms the different types of
historic silhouettes. These examples may afterward be used by the class in a pag-
eant to show the evolution of silhouette throughout the ages.

XII. The outlines may be traced, and with the help of old fashion books and
magazines, the details of the costume traced in and colored with crayon or
water colors.

ILLUSTRATIVE MATERIAL

As many of the most helpful books relating to historic costume are very
expensive, the following suggestions are offered as being within the reach of all
teachers with the expenditure of little money and some effort.

Current newspapers and magazines nearly always contain articles and pic-
tures which are helpful. Clppings should be made, mounted on cardboard or
heavy paper and filed according to a simple system so as to be easily available
for class use. Good copies of very fine pictures can be bought for a very small
sum from two or three firms which specialize in inexpensive prints (p. 49).

Many of the museums of art in the larger cities have lending collections of
slides, textiles, and reproductions of paintings in the museum collection, which
may be used by schools outside of the city and state on the payment of asmall
rental fee and the charges for transportation (p. 49).

When the school owns a lantern or reflectoscope it is suggested that the
teacher make frequent use of this means of showing slides and small pictures to
large groups of students. The reflectoscope is so easily operated that it can be
used by the students themselves.

Many of the public libraries have lending collections of mounted pictures
which are available for school use.

Some progressive teachers are having students work in groups in the mak-
ing of illustrative materials which are to be used for their particular problems and
then added to the school collection. Much of this work can be done effectively
by using tissue paper and inexpensive cloth. ;

The friends and parents of children of foreign stock generally have some
of the costumes worn in their native country which they are always proud to
lend to the school for illustrative or exhibition purposes.

BIBLIOGRAPHY

GENERAL BOOKS ON COSTUME
Encyclopedia Britannica.
Horrenrotu: Le Costume chez les Peuples Anciens et Modernes.
KReETSCHMER and Rourpacu: Costume of All Ages, Ancient and Modern.
Ractnet: Le Costume Historique.
Zur GESCHICHTE DER KostUme: nach Zeichnungen von Wilhelm Diez.

ACCESSORIES

Combs:

Cuitp: Wimples and Crisping Pins.

Winter: Die Kaemme.
Corset:

Leory: Le Corset a Travers les Ages.
Crinoline:

Puivpott: Crinoline.

RueEaD: Chats on Costume.

W. B. L.: The Corset and the Crinoline.
Fans:

Fiory: A Book About Fans.

Rueap: Chats on Costume.

History of the Fan.

Gloves:

Beck: Gloves, Their Annals.

Uzanne: The Sunshade, the Glove, the Muff.
Hair and Head-dress:

Cuitp: Wimples and Crisping Pins.

RueaD: Chats on Costume.

VitteRMONT: Histoire de la Coiffure Feminine.

Wan eicH: Headgear, Antique and Modern.
Jewelry:

PrercivaL: Chats on Old Jewelry.

SmitH: Jewelry.

Shoes:
Dutton: The Boots and Shoes of Our Ancestors.
Lacrorx ET DucuEsne: Histoire de la Chausses
Rueap: Chats on Costume.
AUSTRIA
Hotme: Peasant Art in Austria and Hungary.
Oesterreichisch-Ungarische Monarchie in Wort und Bild.

BELGIUM
Costume Belgiques.
SemeLe: The Costume of the Netherlands.

BULGARIA
Fox: Bulgaria.
Monroe: Bulgaria and Its People.
National Geographic Magazine:
November, 1908; December, 1908; November, 1912; April, 1915; October, 1915;
September, 1916.
CHILDREN
AvuKER: Child Life in Pictures.
Earwe: Child Life in Colonial Days.
GoprrReEyY: English Children in Olden Times.
Mcrauu: Beautiful Children.
Mempes: World’s Children.
Mi: Little Folk of Many Lands.
CHINA
ALEXANDER: Dress and Manners of the Chinese.
Browne: New America and the Far East.
National Geographic Magazine:
August, 1900; September, 1905; February, 1908; April, 1908; September, 1908; Feb-
ruary, 1910; September, 1910; October, 1912; May, 1913; June, 1913; October, 1913.
Tuomson: Illustrations of China and Its People.
EGYPT
Erman: Life in Ancient Egypt.
Hore: Costumes of the Ancients.
Houston and Hornstower: Ancient Egyptian, Assyrian, and Persian Costume.
WiILkiInson: Manners and Costumes of the Ancient Egyptians.
ENGLAND
AsHpown: British Costume.
CauruorP: English Costume.

Cuincu: English Costume.
44

Farruour: Costume in England.

Hiuu: History of English Dress.

Hucues: Dress Design.

Parsons: Psychology of Dress.

PLancuE: Cyclopedia of Costume.

Suaw: Dresses and Decorations of the Middle Ages.
Strutt: Dress and Habits of the People of England.

FABRICS AND DESIGN

Cote: Ornament in European Silks.
CuirrorpD: Period Furniture.
Hunter: Decorative Textiles.
Von Fake: Decorative Silks.
FRANCE

BiLackBurn and Caupecorr: Breton Folk.
Bouter: Les Modes Feminines du XIX Siecle.
Bruyn: Costume du XVI Siécle.
CHALLAMEL: History of Fashion.
Detamy: Le Costume au Moyan Age.
Epwarps: Brittany and the Bretons.
GatIne: Female Costumes.
JACQUEMIN: Histoire général au Costume.
Lacroix: Moeurs, Usages, et Costumes de Moyan Age et de la Renaissance.
Le Comte bE Riser: Modes et Usages au Temps de Marie Antoinette.
Menpes: Brittany.
Mercuri: Costumes Historiques.
National Geographic Magazine:
September, 1914; November, 1915; July, 1923
Parsons: Psychology of Dress.
Pauquet Freres: Modes et Costumes Historiques.
Prton: Costume Civil en France.
QuicHERAT: Histoire du Costume en France.
Renan: Le Costume en France.
Rosina: Ten Centuries of Toilette.
‘Roux: Le Costume en Provence.
Uzanne: Les Modes de Paris.
VIOLLET-LE-Duc:; Dictionnaire du Mobilier F rancais.

GERMANY

JULEIN: Die Deutschen Volksirachten
KRretscHMER: Costumes Nationaux Allemands.
National Geographic Magazine:

September, 1914.
ZELL: Bauern-Trachten.

GREECE

ABRAHAMS: Greek Dress.
Biumner: Home Life of the Ancient Greeks.
Evans: Greek Dress.
Guut and Koner: Life of the Greeks and Romans.
Handbook of the Classical Collection of the Metropolitan Museum.
Hawes: Crete, the Forerunner of Greece. ,
Hope: Costumes of the Ancients.
National Geographic Magazine:

March, 1913; October, 1915; September, 1916.
Tucker: Life in Ancient Athens.

HOLLAND
Epwarps: Holland of Today.

JuNGMAN: Holland.
Maaskamp: Representations of Dresses, Morals, and Customs in the Kingdom of Holland.
National Geographic Magazine:

January, 1915; September, 1916.

HUNGARY
Hotme: Peasant Art in Austria and Hungary.
Maurnyal Drzso: A Magyar Nep Muveszete.
National Geographic Magazine:
February, 1914; October, 1914.
Oesterreichish-Ungarische Monarchie In Wort und Bild.

ITALY
CANZIANI: Costumes, Traditions, and Songs of Savoy.
Hoime: Peasant Art in Italy. ‘i
National Geographic Magazine:
December, 1909; June, 1915; September, 1915; August, 1916; October, 1916; ‘
February, 1917; January, 1923.
Prnetui: Etchings of Italian Costumes.
VECELLIO: Costumes Anciens et Modernes.
46

JAPAN

Browne: The New America and the Far East.
Knox: Japanese Life in Town and Country
National Geographic Magazine:

November, 1911; July, 1921; September, 1922.
Hoiianp: Things Seen in Japan.

LACE

LeréBurE: Embroidery and Lace.
Moore: The Lace Book.
Pauuiser: History of Lace.
POLLEN: Seven Centuries of Lace.
Ricct: Old Italian Laces.
SHARP: Point and Pillow Lace.
Wauitine: A Lace Guide for Makers and Collectors.

NORWAY
JUNGMAN: Norway.
National Geographic Magazine:
February, 1917.
TonsserG: Udvalgte Norske Nationaldragter.

PERSIA
Hurcuinson: Living Races of Mankind.
Jackson: Persia, Past, and Present.
Rippatu: Great Races of Mankind.

POLAND
Hoime: Peasant Art in Russia.

PORTUGAL

BraprorD: Sketches of Costume in Portugal and Spain.
National Geographic Magazine:
November, 1922.
ROME
_ Harper: Dictionary of Classical Antiquities.
Hore: Costumes of the Ancients.
Jounston: Private Life of the Romans.
Preston and Donce: Private Life of the Romans.:
Smitu: Dictionary of Classical Antiquities.
47

ROUMANIA
Manotescu: Igienia Teranulut.
National Geographic Magazine:
December, 1912; October, 1913; October, 1915; September, 1916.
Oesterreichisch-Ungariscge Monarchie in Wort und Bild.

RUSSIA
Antiquities of the Russian Empire:
Cuauir: Russian Festivals and Costumes for Pageant and Dance.
Harpine: Costumes of the Russian Empire.
Hoime: Peasant Art in Russia.
National Costumes of the Slavic People, National Board of the YaW. GaAs
National Geographic Magazine:

July, 1913; November, 1914; July, 1917.

SCOTLAND
MaclIan: Costumes of the Clans.
Stuart: The Costume of the Clans.

SPAIN
Breton: L’Espagne et le Portugal.
Braprorp: Sketches of . . . Portugal and S pain.
GiscarD: Delineations of the Costumes of the Di fferent Provinces of Spain.
Wiuiams: Land of the Dons.

SWEDEN

Afbildningar af Svenska national drdkter.

Hotme: Peasant Art in Sweden, Lapland, and Iceland.
Luoyp: Peasant Life in Sweden.

STEVENI: Things Seen in Sweden.

SWITZERLAND

BripcEens: Sketches Illustrative of the Manners and Costumes of France, Switzerland,
and Italy.
Herru: Die Schweizertrachten.
Hoimes: Peasant Art in Switzerland (in Preparation).
Mecue.: Costume in Switzerland.
Reruarpr: Collection de Costumes Suisses.
Yosry: Switzerland.
48

UNITED STATES

Eare: Home Life in Colonial Days.

Earue: Two Centuries of Costume in America.
Gopvry’s Lady Book.

Hors: Catalogue of American Historical Costumes.
McCLeLuan: Historic Dress in America.
Parsons: Psychology of Dress.

Peterson’s Monthly Magazine.

Good illustrative material can be obtained from the following:
The Metropolitan Museum of Fine Arts, New York, N. Y.
The Museum of Fine Arts, Boston, Mass.
The Art Institute, Chicago, II.
The Educational Department of Marshall Field and Co., Chicago, III.
The University Prints, Newton, Mass.
The Perry Picture Company, Malden, Mass. (Prints).
G. W. Brown and Company, Beverly, Mass, (Prints).

‘a {
Si iy Lene at

vy is TANT
AOL AO EEN
AVACEY

Alencon, 22

Basquine, 12

Bibliography, 43

Bustle, 32

Catherine de Medici, 12

Chinese, 28

Chiton, 4, 6

Corset, 12, 16, 26, 32

Crinoline, 26, 28

Directorate, 22

Egyptian, 2

Elizabeth, 12

Empire, 2, 26, 28

Fillets, 4

Fontage, 16

French Revolution, 22

Gothic, 8

Grecian, 4, 6, 22, 38, 39

Head-dress, 1, 8, 10, 12, 20, 39

Hat, 4, 26, 32, 34, 39

Hennin, 10

Himation, 6

Hoop, 12, 20

Lace, 12, 20

Louis XIV, 16. 32

Mantle, 4, 6

Marie Antionette, 20

Material, 4, 6, 10, 12, 16, 20, 28, 34
illustrative material, 41, 49

Mechlin, 22

INDEX

Middle Ages, 8, 10, 12, 20, 34

Muff, 32

Napoleon, 22

Palla, 6

Renaissance, 12

Restoration, 26, 28

Romantic, 26, 28

Roman, 16, 22

Ruff, 12, 16

Shoes, 8, 10, 20, 34

Silhouette,
Eighteenth Century, 20
Egyptian, 2
Grecian, 4
Middle Ages, 8
Nineteenth Century, 26
One’s Own, 38
Roman, 6
Seventeenth Century, 16
Sixteenth Century, 12
Twentieth Century, 32

Sleeves, 2, 6, 8, 12, 16, 20, 26, 28, 32, 38

Splendone, 4

Stola, 6

Surcot, 8

Tunic, 8

Valenciennes, 22

Veil, 4, 8

Vertugale, 12

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