«Table of Contents What Dress Makes of Us Dorothy Quigley PREFACE WHAT DRESS MAKES OF US CHAPTER I. HOW WOMEN OF CERTAIN TYPES SHOULD DRESS THEIR HAIR ...»
[Illustration: NO. 9] [Illustration: NO. 10] For Eyes Set Too Low.
Women whose eyes are set too far down in their faces should adopt a mode of arranging their hair exactly the opposite of those whose eyes are set too near the top of their heads.
It is apparent that No. 10 exaggerates the distance of her eyes from the crown of her head, and makes them appear to be set lower than they really are by building her hair high, and by brushing her bang back so severely from her brow. A bald forehead is rarely becoming to any woman. A few stray curls or soft waves lend grace to even the most perfect of brows.
[Illustration: NO. 11] By bringing the hair down over the forehead, as suggested in No. 11, a woman with this type of face can easily improve her appearance. By this graceful arrangement her face loses the childish and sometimes stupid expression that is peculiar to the type, as may be discerned in No. 10. When the hair is properly arranged this element of childlikeness lends a certain appealing sweetness not unattractive even in the faces of matured matrons. By dressing the hair low so the coil does not appear above the crown, as in No. 11, the eyes are apparently properly placed.
For Long Faces with Long Noses.
The woman who wears her silken tresses arranged on either side of her head, draped like curtains from a central parting, is to be envied if she can do it and yet look young and pretty. She is the Madonna type and
seems to possess all the attributes of gentleness, modesty, and meekness, and angelic sweetness that are supposed to characterize the distinctively feminine woman. This is the ideal style of coiffure much bepraised by man, because, according to a bright modern Amazon, “it makes a woman look so meek.” [Illustration: NO. 12] The only type to which it is really becoming is the Italian. The type with matte complexion, soft eyes, finely chiselled nose, and delicately oval chin, look ideally sweet and feminine with the hair arranged a la Madonna.
[Illustration: NO. 13] Long faces of the form pictured by No. 12 exaggerate the longness and leanness of their faces by wearing their locks like looped curtains. A long nose with two long lines on either side of the cheek seems longer than it is, as the observer may discern three lines instead of only the nasal one, and the impression of longness is emphasized. Not only is the length of the countenance made more noticeable, but years and years are apparently added to the actual age.
That No. 13, which shows a parting and soft waves that do not come below the ears, is to be preferred by a woman whose features are of this character need hardly be explained. The improvement in looks is quite obvious.
[Illustration: NOS. 14 AND 15] No. 14 is an example of a misguided woman of the pudgy type who, for some inexplicable reason, arranges her hair in the Madonna style. It is utterly unsuited to her face. Unless her ears are deformed this style of hirsute lambrequins should not be worn by a full, round−faced woman. The arrangement sketched in No 15 adds effectively to her appearance, not only making her look younger, but less inane.
[Illustration: NO. 16] For Faces with Protruding Noses.
Women with decidedly protruding, or irregular, tip−tilted noses should be especially careful in arranging their coiffures.
Any woman who arranges her hair as in sketch No. 16 caricatures her facial defects by increasing the too protuberant lines of her nose. The distance from the end of her nose and the tip of the topmost knot of hair is too long for either beauty or intelligence. The shape of her head acquires idiotic proportions, and her nose is placed entirely “out of drawing” and is obtrusively conspicuous when seen in profile. This type of woman is generally classified among the inquisitive, bright, and energetic. She should aim to modify the unhappy angularity of her profile as well as to repress her gossipy tendencies. The graduated coil of hair and waved coiffure, shown by No. 17, are most felicitous in their effect on this type of face.
[Illustration: NO. 17] [Illustration: NO. 18] No. 18 reveals an error in an opposite direction. The snubbed−nose girl, by fixing her hair in a bun−like coil, gives the impression that her coiffure is held by invisible strings by her nose, which gets a more elevated look than it otherwise would have, because of the bad angle at which the coil is placed.
No. 19, which is a picturesque variation of the popular coif, manifestly improves this type of face, and makes the nose appear less obtrusive.
A woman should carefully study the contour of her head from every side; the modelling of her face; the length and inclination of her nose; the setting of her eyes; and the breadth and form of her brow, and adopt a becoming coiffure that will give artistic balance to her face, and never absolutely change the style whatever the mode in hair−dressing may be. In England, the court hair−dresser years ago studied the character of the head and face of the Princess of Wales, and designed a coiffure for her which she has never varied until recently; then she merely arranged her fringe lower down on her forehead than she has ever worn it before.
The general style, however, she preserves intact, and wears her hair, and has for many years, as is shown in the picture—No. 20. Her daughters, who have faces the same shape as hers, dress their coiffures similarly. In never changing the style of arranging her hair, the Princess of Wales owes in no small degree her apparent air of youthfulness.
[Illustration: NO. 20]
NO MATTER WHAT THE PREVAILING STYLE THESE RULES MAY BE PRACTICALLY APPLIED.
Closely allied to the subject of hair−dressing is that of head−gear. Indeed many of the hints regarding appropriate coiffures for certain styles of faces are equally applicable to the selection of suitable hats and bonnets. The choosing of millinery is the more momentous of the two, of course, for I need scarcely remind you that Nature left us no choice in hair. No matter what its color or texture we desire to keep it and if we are wise we will make the best of it.
In regard to hats we are personally responsible and our follies are upon our own heads.
The power of caricature being greater in hats than in hair−dressing, is it not fit that we should give careful and intelligent consideration to the selection of our millinery that the ugly lines in our otherwise beautiful faces may not be at the mercy of mocking bunches of ribbons, comically tilted straws, or floppy bits of lace?
The Magic of The Bonnet.
Once upon a time, I think that was the exact date, there was a man distinguished in a certain kingdom as the ugliest person in the realm. According to a blithe romancer, he was so distinctively unpleasing in form and feature that he challenged the attention of the king who, in whimsical mood, made him a royal retainer. The man so conspicuously lacking in beauty enjoyed his eminent position and privileges for some time. But even ugliness, if it attain distinction, will excite envy in the low−minded. A former associate of the unbeautiful man in invidious temper brought the news one day to the king, that there was an old woman in his domain that was uglier than the lowly−born man who by kingly favor held so high a place. “Bring her to the court. Judges shall be called to decide. If she is uglier she shall stay and he shall go,” was the royal mandate. When the old woman appeared she was easily decided to be by far the uglier of the two. At the critical moment when the king was upon the eve of dismissing the man from his retinue, a friend of the unfortunate shouted, “Put her bonnet on him!” This was done, and lo! a fearful change was wrought. By unanimous acclamation he was declared to be “the ugliest creature on earth.”
The old woman, true to the instincts of her sex, refused to wear her bonnet again. Like many of her sisters of modern times, she had not before discovered the possibilities in a bonnet to enhance the beauty of the face or decrease its charms.
If woman could see themselves objectively, as did the old woman, they would keenly realize the necessity of considering the lines of hat or bonnet in relation to those of their faces, and would learn to obscure defects and bring into prominence their prettiest features.
As there are a few rules to govern what each type should select, every one of the fair sisterhood has an equal opportunity to improve her appearance by selecting in the millinery line the distinctive adornment suited to her individual style.
[Illustration: NO. 22] For Women with Broad Face and Heavy Chin.
By a curious law of contrariety the woman with a broad, heavy chin seems to have an ungovernable penchant for trig little round bonnets, or trim turbans with perky aigrettes, like that in sketch No. 22. By obeying this wilful preference she obscures whatever delicacy may be in the modelling of her features and brings into conspicuous relief the ugliest lines of her face. Her chin is apparently increased in heaviness and the broadness of her face is made prominent. She could easily have restored the artistic balance to her facial lines by wearing a large hat, rather heavily trimmed, as in No. 23, thus effectively modifying the strong curves of the chin and signally improving her appearance. If a woman's face is fairly proportioned, not too short for its breadth, and she can not afford plumes, this type of woman can still give a becoming balance to her face by adopting hats that are trimmed with flamboyant bows that flare horizontally across the hat, diverging from a central knot in the from.
[Illustration: NO. 23] For the Woman with Tapering Chin.
[Illustration: NO. 24] The woman who is the exact opposite of the type with the ample lower jaw, but whose chief disadvantage lies in her broad, manly brow and tiny tapering chin, should avoid all horizontal trimmings, bows or broad hat−brims. It is clear, in No. 24, that such trimmings increase the wedge−like appearance of the face and give it the grotesque suggestion of an ordinary flower−pot in which grows a sickly plant. This type can perceptibly improve upon nature by choosing the style of hat and neck−gear shown by No. 25.
[Illustration: NO. 25] The crinkly ovals that form the brim of the hat, and the soft, graceful arrangement of the hair in front that decreases the too broad effect of the brow, and the full fluffy ruff snuggled up closely to the chin, produce a pleasing transformation of the meagre−looking original that to the uninitiated seems little short of magical.
The broad, cravat−like bows, and the flaring ones known as “incroyables,” were beneficently wedge−like faces and throats that have lost the seductive curves of youth.
Hat for the Chubby Woman.
[Illustration: NO. 26]
That amiable type of woman formed conspicuously upon the circular plan often unconsciously impresses the fact of her fatal tendency to rotundity by repeating the roundness of her globular eyes, the disk−like appearance of her snub nose and the circle of her round mouth, and the fulness of her face by wearing a little, round hat in the style portrayed by No. 26.
[Illustration: NO. 27] The curls of her bang, the feathers in her hat, the high collar of her jacket make more significant the fact that her lines are not artistic and that her face is unbeautifully round. She can enhance her charms and apparently decrease the too spherical cut of her countenance by adopting the mode illustrated in No. 27. The angular bows on the hat, the geometric lines of the broad hat−brim, the precise cut of the lapels on the corsage, the neat throat−band and V−shaped vesture—all insinuate in a most engaging way a dignity and fine, high−bred poise totally obliterated by the circular style of dress erroneously adopted by the misguided woman in No. 26.
[Illustration: NO. 28] For Women Who Have Sharp and Prominent Profiles.
In buying a hat many of the “unfair sex”—as the modern wag dubs the progressive sisters who wish to have all man's rights and privileges and keep their own besides—never seem to consider their heads but from a front point of view. In consequence, as sketch No 28 hints, a head seen from the side frequently appears, if not idiotically, very inartistically, proportioned.
[Illustration: NO. 29] Occasionally a hat presents as comical an effect in a from as in a side view, as may be seen in No. 29. The wearer was an elderly woman with gray hair which hung down in a half−curled bang on either side of her thin face. Her hat which was simply “dripping” with feathers suggested a fanciful letter “T” and exaggerated the thinness of her face in a remarkably funny way. The feathers overhanging the brim increased the broadness of the hat, and looked singularly waggish fluttering against the spriggy−looking projections of gray hair. The rules for the wedge−shaped face, as may readily be discerned, apply here.
[Illustration: NOS. 30 AND 31] Women who have sharp and prominently outlined profiles have a curious tendency to choose hats, the brims of which project too far forward in front, and turn up too abruptly and ungracefully in the back.
As shown in No. 30 the protruding brim gives the head and face the unattractive proportions of the capital letter “F.” The length of the nose is emphasized by the line of the hat−rim above it and it appears unduly obtrusive. The flat arrangement of the hair and the curve of the hat−brim in the back also exaggerate the obtrusive qualities of the features. By choosing a hat somewhat similar to the one sketched in No. 31, the unattractive sharpness of the profile is modified, and the alert, agreeable quality of the face, that was obscured by the shelf−like brim, becomes apparent. The observer feels, if he does not voice it, that it is a progressive spirit advancing forward instead of an ungainly head−piece that looks like a curious trowel.
For the Woman with an Angular Face.
[Illustration: NOS. 32 AND 33] The woman with the angular features presented in No. 32 should not wear a sailor−hat or any hat with a perfectly straight rim.