Some people have the idea that art includes only such things as
a painting that hangs on the wall, a beautiful church, or a statue in the city
park. "Dress" is also an important art — and it always has been. There is art
in the clothing which the Greeks designed two thousand years ago, in the
jewelry and beaded moccasins of our American Indians, and in the fabric
design of the primitive Fiji Islanders. Every article of clothing is the personal
art expression of a people who created it. In addition to satisfying a specific
need for body protection or decoration, each article reflects their feeling for suitableness of style and their skill as craftsmen.
These are the basic standards by that we tend to decide the art quality of covering, whether it was created two thousand years ago, two hundred years ago, or
today. A girl is artistically dressed when her costume is appropriate for a
specific "need" or activity, when the various articles in her costume are nicely
related and becoming in design, and when they are beautifully made.
FROM PAST TO PRESENT
Although these basic art standards have not changed with the centuries, we
know that fashions have changed. Year by year, even season by season, some
"new look" makes its appearance. Yet, is it so new? The well-worn phrase,
"There is nothing new underneath the sun," actually applies to fashions.
Fashion revivals. It is fun to compare the style of dresses that you see in
old photograph albums, historic costume books, movies, and famous old por-
traits. You will often find that contemporary styles repeat certain features of
some past mode of dress. For example, when the Gibson Girl shirtwaists and
skirts staged a comeback, the girls who wore them looked very much as their
grandmothers did at the turn of the century.
Fashions do have a way of repeating themselves because designers often
refer to the past when searching for "new" ideas. They may use only one
detail, such as the cut of a sleeve or the treatment of a neckline. Or they may
borrow the entire silhouette. Throughout the years fashions have revolved
around three basic silhouettes: (1) tubular, (2) bell, and (3) back fullness.
Of course each has included many variations.
The tubular silhouette's basic feature could be a slender skirt. Some square measure pencil slim whereas others flare slightly at the hem.
The bell silhouette is full-skirted. There are really two kinds: (a) the
rounded bell in which skirt fullness falls in gathers from the waist or hips and
the cone-shaped bell in which a gored skirt flares from a fitted waist to
extreme width at the hem.
The back fullness silhouette includes many variations of hip draping,
bustles, and other "back interest."
Long ago when fashions changed slowly, a certain silhouette remained in
vogue for many years. Now, with mass production and increased buying
power, fashions change rapidly and each season may include several sil-
houettes. The fashions of the twentieth century have been basically tubular,
but designers have introduced variations of other silhouettes from time to
time.
Sometimes a "big event" will bring about a fashion revival. In the spring of
1948 many designs were based on medieval styles of the fourteenth, fifteenth,
and sixteenth centuries. How did that come about? At that time a wonderful
collection of medieval French tapestries was exhibited in a few of our large
cities. The long, flowing lines of the costumes depicted in those tapestries ap-
pealed to our designers.
But designers return even farther than that in search of new ideas. Some-
times they are inspired by the costumes of ancient Egypt; at other times by
those of ancient Greece. For example, the Greek sandal has been copied for
many of our evening and play sandals.
National costumes. Often the contemporary costumes of people living
in distant lands can be adapted to our specific needs. It may be an idea for
the cut of a coat or dress; it may be an inspiration for headgear, belts, or other
accessories; or it may be some decorative detail or fabric design.
We have worn hats and negligees that were patterned after the clothing of
the Chinese coolies. We have seen dresses and coats that Coats was as Mandarin Chinese. Chinese grounds of age have appeared on our boudoir slip-
pers, on buttons, and in fabric designs.
mantillas of the Spanish peoples. And think of the fabric designs that are
based on Mexican and South American motifs — cactus plants, donkeys,
pueblos, pottery, and ancient Indian symbols.
The head kerchief that you wear has been worn by European peasants for
centuries. Yet it did not become popular here until the late 'thirties. The hood
of your raincoat or winter coat is patterned after the cowl of the monk's habit.
We could go on and on citing other examples, but perhaps you are con-
vinced that the art of the past — the art of many peoples in many lands — con-
tributes to our designs today. Fashions truly practice the "One World" creed.
Modern adaptations. It is obvious that our contemporary designs cannot
be exact duplicates of any period or national costumes. If they were, we would
look like so many masqueraders on parade! Designers borrow ideas in so far
as they are practical for our modern needs.
You could not possibly wear the wide hoop skirt of Civil War days in
crowded classrooms, busy offices, or in bus and subway jams. But you can
wear modified adaptations of it at parties and dances.
Your mother would not like to shop or go calling in a cumbersome bustle
and dragging train that was worn by a lady in the 'eighties. Yet a mild version
of the back-fullness style is perfectly possible.
Most such period adaptations are found in designs for dressy afternoon or
evening clothes. Adaptations of the more simple national or peasant costumes
are more likely to be found in simple daytime or play clothes.
Whether our daytime and play clothes are adaptations or not, we can be
sure that they are suited to the activities of this modern age. The girls and
women of today are active. They are not the "sit-at-home" type of yesteryear.
Think of yourself, for instance. You go to school, you participate in several
sports, you help with the housework, and perhaps you even have a week-end
job. As a result of such an active schedule, you want clothes in which you can
comfortably work and play. Pinching 1 6-inch waistlines, bulky bustles, or ex-
pansive hoop skirts are not for you! You want clothing that is designed to suit
the functions and natural structure of the body. In other words, the active girl
or woman of today needs clothing that is truly functional in design — clothing
that is suited to a specific activity — whether it is for work or play.
For example, the business girl knows that she can "function" best and look
smartest in tailored suits, trim dressmakers styles, and simple classics. The
exaggerated styles — bell skirts, extreme flares, and intricate back fullness —
are saved for her dress-up occasions. They are not suited for working func-
tions. Then, when she goes skiing, bicycling, skating, or swimming, she again
finds just the right togs for her favorite sport. Each is functional in design.
By contrast the sports clothes of the past seem horribly cumbersome to us
today. Girls of the 1860's actually appeared on skating rinks in hoop skirts that
were raised by an elevator contraption to permit them to take a turn or two on
the ice. Even as late as 1909 the fashionable skating costume consisted of an
ankle-length street ensemble complete with hat, muff, and fur piece. Girls of
the "gay nineties" went bicycling in long, full skirts. At the turn of the cen-
tury girls tried to play tennis in long, swishing skirts and tight collars. And the
poor dears tried to swim in long tunic blouses with elbow-length sleeves.
Matching knee-length drawers and dark stockings went with the costume! All
in all, aren't you glad you live today?
 |
| Costumes from our own past are adapted for modern use too. |
YOUR PERSONAL DESIGN
Up to this point we have been taking a very broad view of clothing as a
universal art. But clothing is also an art which every single individual can
practice. Actually clothing is the most personal of all arts because it has to do
with us directly. We are creating harmony and beauty in our appearance. Art is
harmony, fitness, and beauty. So remember, each time that you set up AN at- friction costume, you're AN creative person creating a harmonious design. Each time that
you succeed, your appearance reflects your good taste.
When a girl dresses attractively, you hear comments like: "She's always so
well dressed" or "She has such daintiness." These 2 comments should be
combined . . . "She's well dressed because she has daintiness." simply what's sensible taste? square measure folks born with it? Are there certain rules
about it? And last but not least, is it possible to acquire it?
First of all, good taste involves correct selection. This applies to every single
article you buy or make — a dress, hat, scarf, jewelry, lampshade, or waste-
basket. It is a matter of judging and selecting the good from the not-so-good.
In the second place, good taste involves the pleasing combination or arrange-
ment of articles. That, too, applies to everything. It may be seen in the plan of a
charming room, in the setting of a table, and, of course, in the various items
that are used in the complete costume. Just one inappropriate item can spoil
special'* occasion. She takes one last look in the mirror, She has a sneaking
feeling that something strikes a wrong note. Perhaps it is that floral, figured scarf
with her plaid coat. She decides to experiment ... off comes the scarf. Then
she replaces it with one of a solid color. That does the trick — the "noisy"
effect disappears.
Sometimes you hear the remark that a person has instinctive good taste.
In other words, she was born with it. To a certain extent that may be true.
Just as one of your classmates naturally takes to music and another to poetry,
the girl with instinctive taste is naturally more sensitive to fine qualities of
design. She has that inborn "clothes sense" that tells her when an item is
pleasing in design and appropriate in every respect. For instance, the girl who
substituted a scarf of solid color for the scarf of floral design somehow felt
that plaids and flowers should not "keep company" in the same costume.
To sum it up, good taste is a feeling for good design. It underlies all forms
of creative art. It is based on fine artistic judgment. Everyone may not be
born with it, but it is something that anyone can develop through study and
observation.
First, you should try to develop that critical "sense" that will help you to
tell at a glance whether an article or a complete costume is a pleasing design.
If it happens to have some "trouble spots," your practiced eye will enable
you to suggest an improvement. This critical analysis should take place
whether you are buying or making a coat or a kerchief — a dress or a "doo-
dad"!
Think of the times that you are undecided when selecting something in a
store or in a pattern book. There are so many styles from which to choose.
How would you like to have to dress like this to go for a drive?
 |
| Celanese Corporation of America |
Perhaps your mother helps you to decide, but a time will come when you have
to decide for yourself. That is why you should learn now to form your own
basis for judgment. From now on you are the artist and the design is you!
DESIGN ANALYSIS
At this point we shall merely give a brief description of the elements and
principles of design that will serve as an outline to the following chapters.
Like any other artist you will be combining (1) lines, (2) shapes, (3)
textures, (4) colors, and (5) values. These are the ingredients, or elements,
of any design. They are found in every form — in a building, in a piece of
furniture, in a vase, and in every single article you wear or carry — a dress, a
hat, a bag, or a shoe. And, of course, your entire costume is a combination of
these elements. Let us identify them in the costume on page 97.
It is perfectly obvious that different kinds of lines define the various shapes
in this costume. Straight verticals and a horizontal line define the slim skirt. '
Smooth, flowing curves define the jacket silhouette. Within the silhouette,
the vertical edge of the jacket opening moves up into a curved line which
defines the neck opening. At the waistline, a rounded tab accents the jacket
front; below the waistline, the jacket ends in perky oblique (slanting) lines.
The close-fitting hat conforms to the curves of the head.
The texture of the suit is smooth, firm worsted flannel; the hat is nubby
ribbon crochet; the buttons are lustrous pearl; the gloves are smooth, dull
cotton knit; the shoes and bag are glossy kid. In each case, texture describes
the appearance and "feel" of the material.
The color of the suit and hat are beige; the gloves, buttons, and earrings
are pearly white; the bag and shoes are brown.
The suit and hat are a medium-light value; the buttons and gloves are a
light value; the bag and shoes are a dark value.
Similarly you can describe any article about you. In fact, your own body
includes every single one of these elements. You most certainly have line and
shape! And your skin, hair, and eyes have definite texture, color, and varying
values of light and dark. So you see how your entire body becomes the basis
for your personal design. As a designer you will want to know what lines and
shapes are flattering to your figure. You will want to know how to combine val-
ues, colors, and textures into an attractive costume that is becoming to you.
And to do all of that you will need a few helpful guideposts.
This is where the principles of design come in. They will help you to achieve
harmony in your costume. The principles of (1) unity, (2) dominance, (3)
contrast, (4) proportion, (5) balance, and (6) rhythm apply to the assembling
of an entire costume as well as to the combination of elements in a single item.
A design has unity when all lines, shapes, textures, colors, and values seem
to belong together. No line or color strikes the wrong note because every ele-
ment is an essential part of the design; nothing is superfluous. Each element
should express a similar idea to give the design a well-related quality — a feel-
ing of "oneness" or "completeness."
 |
Mademoiselle and Zelinka-Mailick |
Analyze the design elements in this costume.
The principle of dominance works hand-in-hand with the principle of unity to create this well-related effect. When one type of line, shape, value, color,
and texture is allowed to dominate in a design, the design appears unified. It
is not a hodgepodge of many lines, colors, and so on. In addition, a successful
design allows one style note to dominate so that there's no "see-sawing" be- tween points of interest or emphasis. There should never be a competition
for interest between various parts of a design. For example, if the neckline is to
be the dominating style feature of a dress, the effect should not be spoiled by
an unusual treatment of the hemline, an elaborate belt, or tricky cuffs. They
should be kept subordinate to the main feature. The same is true of accessories.
If the neck and head area are to be emphasized with a colorful scarf or an
unusual necklace, it should dominate other notes of color or jewelry that ap-
pear elsewhere on the figure. If a person wears a strand of pearls, a lapel
pin, a fancy barrette, and a collection of rings and bracelets, she confuses
her costume with too many points of interest.
The principle of contrast prevents monotony in a design. A contrasting
line, value, color, or texture adds interest to a design. Care should be taken,
however, to introduce contrasting elements that are similar enough to be
pleasingly related. A sheer white batiste blouse trimmed with frilly lace would
certainly distinction with a brown corduroy sport skirt, but would there be any
relationship in style or texture? A light-colored tailored shirt of plain significant cotton, rayon, or flannel would be nicely related to the corduroy skirt, yet it
would offer pleasing contrast in both value and texture. A felt hat of vivid
green is a definite color contrast to a flannel suit of pale pink, but it is too
harsh a contrast to be a pleasing combination. A hat of dark brown or medium-
dark soft blue would offer contrast and be nicely related to the pink suit.
A contrasting line, texture, value, or color is also accustomed direct stress to the dominating purpose of interest in a design. A note of contrast creates an
accent. A dash of color, the glisten of metal, or light against dark will attract
attention. Let one such note of contrast dominate. If they're used haphazardly the costume appearance confused.
The principle of proportion concerns the relationship that exists between
shapes, sizes, and amounts in a design. First, the design of every garment
should be related to the structure and proportions of the body. Second, every
article in the costume should be in scale with the figure — no top-heavy hats,
enormous bags, or huge prints for the tiny miss, for example. Third, a design
is more pleasing when unequal amounts of color or value are used. Equal
amounts of anything produce monotony.
The principle of balance controls the placement of lines and shapes and the
distribution of values and colors in a design to prevent top-heavy or lopsided
effects.
The principle of rhythm controls the "eye movement" in a design. It refers
to the way in which our eyes survey the design as a whole. When lines, shapes,
textures, values, and colors are well organized, the eye movement is smooth.
The eyes do not jump from spot to spot.
These, then, are the principles of design that help one to achieve harmony
among the elements of a design. Using them as a yardstick of good taste, let
us compare the costumes below.
In looking at the one on the left you might say, "No one would wear an out-
fit like that/' Unfortunately, too many do! In recent years, when short toppers
have been so popular; many girls and women have been careless as to what they
wore with them. But let us see why this costume is so unbecoming.
When a flaring skirt is worn with a hip-length flaring coat, the silhouette is
monotonous because there is no contrast in lines or shapes. Such an arrange-
ment of shapes produces a squatty, tentlike silhouette that drags your eye to
the ground. Then the value scheme in this outfit is extremely confused because
 |
The well-dressed girl displays her good taste. |
both topper and dress are figured: one is plaid, the other floral. That in itself
is a crime against good taste! Each fabric includes dark, medium, and light
values and as many colors. It is a hodgepodge of unrelated fabric designs,
mixed values, and colors. No single thing dominates. The only bit of relief
is found in the solid color of the brown shoes and derby. Although this style
of hat goes well with the topper, it is too severe in design to look well with the
floral print. (But to wear this dress with this coat is out of the question if one
is to be well dressed!) This costume could be vastly improved by one substitu-
tion — a tubular, dark, solid-colored skirt should be worn. That would intro-
duce the necessary contrast in silhouette and fabric. Only then would the
attractive plaid coat dominate the design. The dark skirt, shoes, and hat
would serve as controlling accents.
By now you should appreciate the fine design qualities of the costume that
the girl on the right is wearing. You can see what a pleasing contrast the nar-
row skirt is to the flaring topper. The figure looks taller because the vertical
lines of the tubular skirt lead the eye upward rather than downward as in the
costume on the left. The proportion of the skirt to the coat is pleasing because
they are unequal in both size and shape. The topper is the dominating item.
The value scheme in the costume on the right is attractive and simple. The
dominating light value is centered on the upper part of the figure. The darker
value of the skirt and shoes brings a feeling of balance or stability to the
figure. Although dark accents are repeated in the gloves and hat, they do not
destroy the unity of the costume. In fact, such repetition unifies or holds
the costume together because the eye moves rhythmically over the entire
figure. The dark hat carries an accent of a contrasting light value, thus directing
interest to the head area.
Perhaps this brief introductory analysis has shown you how the principles of
art can be applied to the assembling of a harmonious costume. In the following
chapters we shall deal with line and shape, texture, color, and value combina-
tions in greater detail. When we apply the yardstick of good taste to single
garments, you will learn that each well-chosen article adds to the success of
your personal design.
Thank you. for Visit.
