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diff --git a/old/63017-0.txt b/old/63017-0.txt deleted file mode 100644 index 3652804..0000000 --- a/old/63017-0.txt +++ /dev/null @@ -1,4105 +0,0 @@ -The Project Gutenberg EBook of Dress and Look Slender, by Jane Warren Wells - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Dress and Look Slender - -Author: Jane Warren Wells - -Release Date: August 23, 2020 [EBook #63017] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK DRESS AND LOOK SLENDER *** - - - - -Produced by Richard Tonsing, Tim Lindell and the Online -Distributed Proofreading Team at https://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/American Libraries.) - - - - - - - - - - Dress and Look Slender - - - BY - JANE WARREN WELLS - - - PERSONAL ARTS COMPANY - SCRANTON, PENNSYLVANIA - - - - - COPYRIGHT, 1924 - BY THE PERSONAL ARTS COMPANY - ALL RIGHTS RESERVED - - - INTERNATIONAL TEXTBOOK PRESS - SCRANTON, PA. - - - - - FOREWORD - - -The desire to be attractive, to feel the assurance that one is correctly -if not beautifully dressed is inherent in every woman. With the advent -of the “slim silhouette” the full proportioned woman or girl has had a -problem. It is unfashionable to appear over large—and one cannot help -feeling conspicuous when out of Fashion’s range. But, fortunately, there -is a plan by which the proper selection of dress can actually aid you in -overcoming the handicap of weight. - -There is magic in the principles of “optical illusion” and rightly -applied it is a kind of magic that one can make a permanent reality. But -magic is subtle. It requires skill, watchfulness, and a close abiding to -the rules if every “trick” is to be a success. - -In reading this book you will find many things that you are advised not -to do, but always you will find substantial instructions as to what to -do. And always principles are provided which you can use and adapt to a -great variety of personal needs. - -One of the first essentials of teaching is to start a definite line of -thinking, and if the rules in this book will arouse in you the desire to -compare the points made with illustrations you see of line and color, -both in pictures and on people, and to test their correctness or -incorrectness for yourself, it will indeed be worth while. - -You, who have started diets and failed with them, who have tried -exercises and become discouraged, hold to this—read every page of this -book, find the reason back of every rule and apply the principles laid -down. I guarantee that it will be interesting and that the results will -bring you a renewed assurance, confidence and satisfaction with your -personal appearance and with yourself. Is that not enough to commend the -book in its entirety? - - JANE WARREN WELLS - - - - - CONTENTS - - - PAGE - - CHAPTER I - - WHY WOMEN WANT TO LOOK SLENDER 1 - - When Fashion Demands Slenderness and Youthfulness 5 - - Business and Social Life Make Slenderness and Youthfulness a - Necessity 7 - - Making the Most of Your Good Points 8 - - - CHAPTER II - - THE REAL SECRET OF DRESSING TO LOOK SLENDER 15 - - Optical Illusions—Seeing Is Believing 17 - - Lines That Slenderize and Lines That Don’t 21 - - A Simple Trick That Takes Off Twenty Pounds 28 - - Making Yourself Taller Than You Are 32 - - Lines That Slenderize Tunics 33 - - Apply These Rules to Every Item of Your Attire 36 - - Secrets That Even the Slender Woman Must Know 37 - - - CHAPTER III - - THE LITTLE THINGS THAT MAKE THE BIG DIFFERENCES 39 - - Watch Your Step 39 - - What Your Posture Can Do For You 41 - - Shoes and Stockings Must Be Selected With Care 43 - - Necklines Are Slenderized by Correct Jewelry and Collars 46 - - Purses, Fans, and Other Accessories 47 - - Neatness and Cleanliness Are Essential 48 - - Cosmetics Either Add or Detract 49 - - Think of These Little Things Beforehand 51 - - - CHAPTER IV - - FOUNDATIONS THAT SLENDERIZE 55 - - The Art of Selecting Your Corset 55 - - How to Know When Your Corset Fits Exactly 56 - - Which is Your Type of Corset? 60 - - The Best Kind of Brassiere for You 61 - - The Importance of Smooth, Perfect Fitting Underthings 65 - - - CHAPTER V - - CARDINAL RULES FOR DRESSES THAT CAMOUFLAGE SIZE 71 - - Remodeling Your Present Wardrobe 71 - - Selecting New Clothes That Will Slenderize You 76 - - The Truth About Surplice Fronts 83 - - Sleeves for Large Arms 85 - - Slenderizing Fleshy Shoulders 91 - - Disguising Weight From the Waistline Down 92 - - Necklines Make a Tremendous Difference 96 - - The Importance of These Slenderizing Trimmings 98 - - Helpful Hints from a Leading New York Designer 100 - - - CHAPTER VI - - ESSENTIAL POINTS IN CUTTING AND FITTING 103 - - The Helpfulness of Darts in Certain Places 103 - - How to Hold the Dress Up on the Shoulders 106 - - What the Long Underarm Does 106 - - The Bias Center Front 107 - - How to Add Fullness Without Flare 107 - - - CHAPTER VII - - FABRICS THAT SLENDERIZE 115 - - Facts to Know About Materials 116 - - Why Average “Bargains” Are Not an Economy for You 120 - - Choose These Slenderizing Fabrics 120 - - Materials You Can Wear 123 - - How to Look Smart at All Times 124 - - If You Must Practice Economy 125 - - - CHAPTER VIII - - COLORS THAT SLENDERIZE 129 - - What Colors Not to Wear 130 - - Study Color “Families” 132 - - Choose Subtle Shades 134 - - A Color Guide to Aid You in Attaining a Slenderizing Appearance 136 - - Rules to Remember 139 - - - CHAPTER IX - - THE LINE OF YOUTH AND GRACE 143 - - When Tailored Clothes Are Smart 143 - - Youthful Styles You Can Wear 146 - - Youthful Styles to Avoid 149 - - Trimness Is Your Goal 151 - - - CHAPTER X - - THE SMART LINE OF DIGNITY 155 - - Dress Smartly, No Matter How Old You Are 156 - - If You Are Short and Stout 159 - - For the Tall Stout Figure 161 - - Skirts for Dignity 161 - - Sleeves for Grace 162 - - Trimmings to Avoid 163 - - How the Mature Woman Can Appear Smart, Attractive and Charming 166 - - - CHAPTER XI - - HATS AND WRAPS THAT SLENDERIZE 171 - - Hat Shapes to Wear and Not to Wear 172 - - Hat Colors to Wear and Not to Wear 176 - - Wraps That Slenderize and Those That Do Not 177 - - - CHAPTER XII - - LOOKING SLENDER IS AN ART, A NECESSITY, AND A PLEASURE 179 - - Harmonious Proportions—The Aim of Every Woman 180 - - Simplicity is the First Essential 182 - - Here Are the 10 Chief Rules in a Nutshell 183 - - - - - DRESS AND LOOK - SLENDER - - - - - CHAPTER I - WHY WOMEN WANT TO LOOK SLENDER - - -If there is any one thing in the world that is not wanted it is too much -fat on a woman. In my whole lifetime I have heard only one overweight -woman say she would not be thin if she could. I have always regretted -that I did not ask her why. - -Before I tipped the scales so definitely myself, I paid little attention -to the problems of the big woman, for of course I was not vitally -interested in weight reduction or size concealment. But when I found my -own clothes not meeting and the children in the family saying I was -getting fat, I began to take notice. I must have read fifty-odd -advertisements on “How To Get Thin,” and I was hopeful of some of the -methods. We almost had to move from a duplex house because I did -exercises to music and the neighbors could not sleep. I ate -“woe-be-gone” bread. I even tried to melt away in reducing corsets but -almost took the skin with them when I tried to get them off. I read -every book I could find on “What To Eat” and “What Not To Eat,” and I -lost three good cooks in my efforts to reduce the menu to a get-thin -basis. - -A prominent actress gave me a prescription for reducing. Her husband, on -finding it out, came rushing to see me to tell me that the prescription -was for a drug and that his wife in her eagerness to keep within bounds -demanded by the stage had indulged only to become a hopeless addict. - -Then I went to my physician and told him I was tired of bruising myself -with rolling, my fear would not allow me to take drugs and I would have -to leave home if I persisted in the diet. I begged him to give me -something to remove the excess of thirty pounds and he promptly refused, -pointing out to me the illnesses and other bad effects that could come -from abnormal or unnatural reduction. He explained that he could give me -something that would take off the fat but that it would age the tissues -of the body ten to fifteen years. And youth is something that every -woman wants to keep, no matter what her weight. - -He explained the thyroid theory but refused to give me an ounce of the -preparation for my relief and very frankly told me to forget my weight -and enjoy the good health that I evidenced. I left his office -crestfallen and disappointed, thinking that if he only knew how much the -heavy woman wants to appear thin enough to wear smart clothes, if he -could only know how she actually longs for the lovely things that -fashion creates for the slender types, he would be more sympathetic. But -he is a very sane and sensible man and all my appeals had no effect. - -However, when my friends continued to say, “My, I believe you’re getting -fat” instead of “How stunning you look,” I realized how necessary it was -for me to persist in my determination to dispose of the thirty extra -pounds and at the same time indulge my appreciation for pretty things -which is the right of every woman, fat or thin. - -I found my clothes problem daily growing more serious. Several times I -purchased a new dress and after one wearing I would discard it because I -looked heavier and older than I wanted to look. The problem was becoming -increasingly difficult because each time I stepped upon the scales, I -would invariably see recorded two or three pounds more than last time. I -am sure that many of you have meekly slipped off the scales, as I have, -scarcely waiting long enough to see what weight was actually registered, -praying meanwhile that no one saw where the arrow pointed. I simply -could not believe the scales were right, because before each weighing I -was certain within myself that I had climbed enough stairs, done without -enough candy, and touched my hands to the floor often enough to be at -least three pounds lighter. - -About this time an inspiration came to me. I would “get even” with my -slender friends. If I could not safely reduce, I would at least give the -_appearance_ of having reduced. If I could not actually take off thirty -pounds, I would make myself _look_ thirty pounds lighter in the eyes of -others. - -And, after all, is that not what we are most concerned about? Plumpness -is more often a sign of good health than bad. We could be supremely -happy with our extra weight if only we could _look_ slender. I recalled -the advice of my physician to “go home and enjoy my good health.” - -So I started on my campaign to lose thirty pounds _in appearance_. I did -it and so quickly that my friends were amazed at the sudden change. I -was congratulated on my success in reducing. I was told I had never -looked so well. Friends persistently asked me what method of reducing I -had followed. In fact the success of my plans has been so remarkable -that I do want every overweight woman to know about them. And so into -this book I am putting the whole story. - - - WHEN FASHION DEMANDS SLENDERNESS AND YOUTHFULNESS - -We are all slaves to fashion. For many, many years it was the fashion to -be plump. Venus herself was not slender, but well rounded and full of -figure. Our mothers wore bustles, and bust ruffles if they needed them, -but as for us, well, it is the fashion to look slender, and since it is, -we must strive to keep within the dictates of the mode. - -My own work is fashion work. I meet hundreds of fashion folks. The -slender silhouette has been promoted, applauded, appreciated for years, -and as the days and months went by and the youthful outline grew more -important, more prominent, I began to realize what a handicap the stout -woman was under in trying to find attractive clothes. I felt like an -Eskimo on a summer’s day on Fifth Avenue. To go into a smart shop to buy -a new dress only to be looked over and directed to the matron’s -department or that of the stylish stouts was too much for my pride. I -wasn’t willing to put myself in the out-of-fashion class and appear -heavy and elderly wearing fronts and vests that had written all over -them, “built especially for a stout.” - -Frequently fashion magazines show suggestions for “length lines”—but -they seem to assume that all overweight women must look matronly. Two, -in particular, that I remember showed the effect of incorrect crosswise -lines and of correct lengthwise lines. I studied them carefully for -information and decided that I would prefer to look round and thirty, -than straight up and down and sixty. Every one of the models, though -satisfactory in design, added 20 to 30 years to the apparent age of the -wearer, doing nothing to overcome one of the most dangerous things with -which the stout has to contend. For although no dignified woman wants to -look like a sixteen-year-old overgrown Susie, still she _does_ want to -look young, modish, and correctly dressed, and no woman is rightly -dressed who by her clothes adds even one year to her age. - -However, I now know that it _is_ possible for every woman, whether she -is only slightly too plump in certain places, or decidedly overweight, -to make herself look smart, slender, and many years younger by studying -certain vital rules of dress and adhering to them in planning her -wardrobe. - - - BUSINESS AND SOCIAL LIFE MAKE SLENDERNESS AND YOUTHFULNESS A NECESSITY - -Women, young, mature, or elderly, at home or in business, must always -try to look their best. They must be so pleasingly and so correctly -dressed as always to evidence good taste, for good taste, after all, is -the only real authority in dress. Without it, dress loses all its power -of charm or influence. Especially is this true for women in public life. -The solo singer in the church, the leader of the club or mothers’ -meeting, the social worker or politician, all must give evidence of good -taste and be modestly and correctly attired if they are to gain -favorable criticism. No woman who sings should ever allow it to be said -of her, “I adored the song, but the singer’s hat annoyed me so that I -could not listen.” - -A woman’s clothes should be beautifully alluring and complimentary. This -is woman’s heritage, and any woman who allows her lack of knowledge to -make her unhappy or unpleasing to see has only herself to blame, for it -doesn’t take money. It does take information, ingenuity, and a little -energy. But oh, how worth while the result will be! - - - MAKING THE MOST OF YOUR GOOD POINTS - -Sometimes we women of over 36 bust become discouraged. There is really -no reason for this because most of us have a great many good points that -we simply do not use to the best of our advantage. We worry so -unnecessarily about our bad points that we forget about the good ones, -but there is much that we can do with little or no effort and the -improvement in our appearance is its own reward. For instance, most big -people have nice hair, and they should keep it. Any big woman who bobs -her hair and leaves it that way hasn’t eyed herself sufficiently in her -mirror. From her neck up she may look ten years younger, but from the -neck down she probably looks ridiculous. For one of the chief rules for -good looks is right balance, poise, and dignity. So why do anything to -hinder these? You have one handicap—too many pounds. You must do -everything you can, therefore, to retain every possible attraction, and -your hair is one of them for it suggests womanliness. - -We don’t want our friends to say that we have a great “mother lap” or a -shoulder of Gibraltar to weep on, but we must set out to be substantial -in thought, act, and deed to be attractive. A little slim girl can -giggle and be silly if she wants to—she can even wear mussed up -dresses—but a big girl must be modest, and always immaculate in every -particular. And why not? It’s an effort, yes, to be always striving for -perfection, but it can be made a real hobby. Study the attractive -slender girl who looks well and dresses well. Adapt what you can of her -attire. Oftentimes, you can learn more of the “trick” from the slim -looking girl than from the stout. - -As you go through fashion books, don’t discredit all the styles and say -they are planned only for the slim. Study them carefully, find a collar -from one and waist line from another, fabric suggestions from another. -Dress to be fashionable, but learn to discriminate so that you can find -the best for you in the new. - -Sometimes I have thought what fun it would be if we big folks could -dress up and reach a point of perfection—so much so that the artist -would have to get a more flexible pencil to express the varying grace of -line that would be manifest. And why not? Isn’t it our own fault if -fashion forgets us? We deserve to be dowdy if we haven’t enough pride, -ingenuity, and perseverance to conceal intelligently and comfortably a -few extra pounds. - -If you are tall and large but not fat, consider yourself a full -well-proportioned figure and dress correctly but in plain good quality -fabrics so that neither height nor width will be accentuated. - -Don’t try to fool yourself by wearing clothes that are too small for -you. It is said that fat men need the best tailors, and surely all large -women should strive to have perfect fitting clothes. - -When I was fourteen I wore on a special Sunday a long skirt and a -bustle, thinking that it was better to look eighteen and “ladylike” than -fourteen and overgrown. Don’t look overgrown in your clothes, but don’t -ever make yourself any older than you are. - -If your ankles are large, have your dresses a wee bit longer than -fashion calls for. If your ankles are small and the legs large above the -ankle, have your dress slightly long for the same reason. If the legs -and ankles are correctly proportioned for the rest of the body, remember -that even you need to have the skirt just a little bit longer because -when you sit down you take up some of the skirt length. A fat woman -sitting down with a dress that is too short is not pleasing to see—and -we big women do love to sit down. - -And in speaking of sitting down, a sanitary apron is a real protection -to the backs of big folks’ dresses as it prevents wrinkling. Buy one, -try it, and you will realize that the back of your dress looks much -better after you get up from a two-hour sitting. And, besides, you can -console yourself with the fact that if perspiration really reduces, your -apron is serving you twofold—melting the fat and preventing skirt -wrinkles all at the same time. - -Don’t ever be tempted to wear frills, ruffles, tassels, or ornaments -that go forward or wave about as you walk. They double your size every -time and must be avoided. - -A good plan for those of us who like ruffles, frills, and bright colors -is to put them on our night clothes where no one but our very own selves -can see. - -The house, too, lends opportunity for our color appetites and there we -may use color freely and safely. But because we love red, orange, or -King’s blue is no sign we must wear it on our backs for all to see. Buy -a little piece of fabric with just the colors you revel in; put it in -the dresser drawer, or let it ornament a chair back, look at it every -day, and thus satisfy your longing for color. Then wear those very -simple things that you know will be becoming. - -One woman whom I know and who looks like a fashion plate in the day time -and like a dream lady at night, always gets everything together on the -bed before she starts to dress. She insists that it takes only a little -longer to do this, that it saves time when she does get ready to dress, -and that she is always better satisfied with the results. She says, “I -know then that I have the right slip, the right stockings, that my -gloves are suitable, and that there are no holes that need attention. In -putting them on the bed, I always make all the little repairs that are -necessary and do all the brushing or freshening that is needed; then -when I am ready to dress I feel a sense of satisfaction that I can find -in no other way.” - -And so, why don’t you, who are striving to express yourself more -beautifully, to dress with more satisfaction and peace of mind, try this -simple little plan of thinking about what you are going to wear and -getting it ready before you start to dress? Then, watching always what -you see in your mirror, your fashion books, on the streets, and in the -shops, you will find that which is appropriate, becoming, and wholly -lovely for you. - -And to these material fundamentals, add your own wholesome pride. Don’t -cheat yourself or those who must see you. Don’t be dowdy. Life is too -short and too real for that. Learn to be proud of yourself and dress so -that even you will feel a sense of security and assurance. After all, we -can be rather selfish about just looking right. Other folks are glad to -see us in pretty clothes—looking our best. A right hat, a right dress, -correctly worn, can really do wonders as a tonic. Try it. It really is a -good prescription. - - - - - CHAPTER II - THE REAL SECRET OF DRESSING TO LOOK SLENDER - - -“Reducing”—by no matter what method—is too often a snare and a delusion; -for even if, after all your efforts, you _do_ lose some weight, a little -indiscretion in your clothes will make you look as stout as ever. - -How to select clothes that are certain to make you _look_ slender is the -most important knowledge a modern woman can have. Surely it is the most -important art in the whole field of fashion. And yet, many designers of -clothes for stout women do not understand its very cardinal principles. -Of course, they do design so-called “slenderizing stouts”—but you know, -perhaps all too well, what they look like. Their long surplice effects -and drab colors say as plainly as words, “I am designed for a stout” and -nine times out of ten they simply call attention to your stoutness. -Besides they are for matronly women—not for those who want to look young -and smart. It seems practically impossible to get youthful and -appropriate clothes for women who wear sizes over 38. Yet it may be only -necessary to change a neckline or remove an ornament or alter the line -of a sleeve in order to transform a “dumpy fat woman’s dress” into a -model of slender grace and youthful charm. - -The whole art rests upon a certain scientific principle known to artists -and a few expert designers. It is called the Principle of Optical -Illusion, by which things appear to the eye to be different than they -really are. By understanding and properly using this principle, objects -may be made to _appear_ larger or smaller, taller or shorter. And by -employing this principle in dress any woman can be made to look older or -younger, shorter or taller, stouter or slenderer than she actually is. - -For example, just as white shoes make large feet look much larger, so do -certain lines and colors make a large figure look a great deal larger, -while correct lines and colors and subtle touches give the effect of -slenderness, youth and grace. - -Every stout woman has, some time in her experience, come by chance upon -a dress which seemed to make her look more slender and younger, and she -has worn and worn that dress almost to shreds, hating to part with it -because there was no telling when she would find another one to give -that same effect. - -But there is no reason why you should trust to chance in selecting -becoming clothes. For if you know this simple yet all important -principle of optical illusion, you can plan or make or select every item -of your wardrobe with the certain knowledge that it will have a -slenderizing effect on your appearance. - -You can know beforehand that _every_ dress, _every_ coat, _every_ hat, -every garment you wear will be designed to give you height instead of -width, youth instead of matronliness, slenderness and grace instead of -heaviness. It doesn’t matter whether you buy your clothes ready made, -have them made by a dressmaker, or make them yourself—you can _always_ -know just what to select to make your particular type of figure look as -slim and well proportioned as possible. - -[Illustration: - - The two vertical lines are exactly the same length—measure them and - see. Short lines turned back at either end make one _seem_ short; - extended lines make the other seem longer. -] - -[Illustration: - - These two illusions are almost duplicated in the dresses above. As a - result one woman looks shorter and heavier, the other taller and - slenderer than she really is. -] - - - OPTICAL ILLUSIONS—SEEING IS BELIEVING - -You yourself are familiar with many optical illusions, although you may -never have thought of them as such. When you look down the railroad -tracks the rails appear to come together in the distance. No matter how -much you tell yourself that the rails do not actually come together, the -fact remains that they _appear_ to do so. If you put the end of a stick -in water it _appears_ broken, although you know that in fact it is not -broken. - -The eyes in a certain portrait seem to follow you, no matter where you -may go in the room in which it is hung. This illusion persists, no -matter how much you may tell yourself that the eyes do not actually -move. When you are on a moving train it is only by the constant -succession of passing trees, posts, and landscape that you realize you -are going forward. When these objects are shut off from your view by a -train going in the opposite direction, you seem to be going backward. Or -if you look at a moving picture taken from the front of a rapidly moving -train or motor launch, it is difficult not to get the impression that -you are rushing forward. - -All of these are optical illusions, yet we do not think of them as -illusions. They represent the natural and the normal and we make -allowances for them. - -The laws of illusion are more easily understood, perhaps, by means of -simple lines than any other way. You will grasp them quickly by studying -the various figures which illustrate this chapter. - -Let us take a simple example to begin with having directly to do with -the use of straight lines in dress. You have probably read a thousand -times and heard a hundred times more that stout people must work for -straight line effects and the straight line silhouette. But it is one -thing to know this fact and another actually to accomplish it in your -clothes. You can’t just hang a straight line down from the shoulder like -a carpenter’s plumb on a door sill. You must know just where and just -how to apply the straight line. You must learn to use straight lines so -that they blend in with your costume—so that they give the desired -effect without calling attention to the means by which it is achieved. - -[Illustration: - - These unbroken parallel vertical lines give the definite impression of - height. This principle, used in the design of the dress above, lends - it a pleasing slender appearance because no other lines interfere - with the straight line effect. -] - -[Illustration: - - Here, also, are two vertical parallel lines. They are straight—test - them—but the other lines radiating from the center, make them appear - “bowed.” In the dress above a similar design makes the wearer appear - stouter and heavier than she really is. -] - - - LINES THAT SLENDERIZE AND LINES THAT DON’T - -It is a popular theory among folks who would dress to look slender that -stripes running up-and-down are the thing to wear, while stripes running -across are to be avoided. This belief, like many another old-fashioned -one, is only half true. For instance, it is true that if the up-and-down -stripes in your material are very fine and unobtrusive they _will_ have -the effect of making you look taller and slimmer. This, however, is not -at all true of broad stripes or of stripes in a definitely contrasting -color—quite the contrary, in fact. Pronounced stripes merely call -attention to themselves and do not create the illusion of slenderness -which is desired. - -But this is only one of many points to be taken into consideration when -you plan a dress with stripes or with straight up-and-down lines of any -kind. For instance, the illustrations on pages 18 and 19 show two -up-and-down lines of exactly the same length. Take your ruler and -measure them to convince yourself. Now note the effect on these lines of -the shorter lines added to each end. The inverted arrows added to the -line at the left make it appear _shorter_ than it really is. The -extended lines added to the one at the right make it appear _longer_ -than it really is. Now note the two costumes on these same pages in -which these principles have been applied. In the one shown on the left -the figure looks shorter and stouter than it really is, while in -designing the dress on the right the correct use of the optical illusion -has been observed and the result is a slender, graceful appearance. You -can readily see from these pictures how a straight line effect can be -either accentuated or shortened by the lines that run out from it. - -There are many ways in which a stout woman who does not know this -principle can easily ruin the effect of a costume. For instance, a woman -who wears a perfectly straight up-and-down dress of quite correct lines -may put a large mushroom shape hat on her head and perhaps a band of fur -around the bottom of her skirt. This has precisely the same effect as -the arrows which are turned the wrong way and therefore shorten and -widen the straight line. - -“I cannot understand why I look so short and dumpy,” she wails -despairingly. “My dress is made on perfectly straight up-and-down lines -and yet I look fatter than ever.” Of course she does, because instead of -_extending_ the straight up-and-down line by a small upturned hat of -some sort and an unobtrusive skirt hem, she has broken the line at the -top and bottom and thereby shortened and widened her appearance. - -[Illustration: - - These two diamond-shaped figures are exactly the same size. The - crosswise line makes one seem wider, the vertical line makes the - other seem narrower. -] - -[Illustration: - - Now note how these same principles used in the dresses above effect - the apparent size and weight of those wearing them, making one seem - much stouter than the other. -] - - - A SIMPLE TRICK THAT TAKES OFF TWENTY POUNDS - -Another point to be very careful about is the matter of _uninterrupted_ -straight lines. For instance, the small diagrams on pages 22 and 23 show -two pairs of perfectly straight up-and-down parallel lines. This is -probably hard for you to believe, since the lines in the right-hand -figure seem to definitely bulge outwards. However, careful measurement -with your ruler or a pencil will prove to you that the lines actually -are as straight as those in the figure on the left. These latter, -however, _appear_ straight because they are uninterrupted and unbroken. -Those at the right _appear_ to bulge outwards merely because there are -so many radiating lines running through them. - -Applying this principle to clothes, you can easily see that the tall, -slender effect you hoped to gain by the straight up-and-down lines of -your costume may be entirely ruined if you apply trimmings of any kind -which radiate outwards toward these lines. The dresses shown on pages 22 -and 23 will prove this to you. The woman at the left with her -uninterrupted, harmonious, gracefully flowing up-and-down lines looks -taller, slenderer, more dignified and in every way more pleasing than -the woman at the right, the radiating lines of whose gown make her -figure seem to bulge outwards in a most discouraging manner. - -Another striking example of optical illusion showing one reason why some -look stouter than they really are is shown in the illustrations on pages -26 and 27. As in the previous examples, the two figures (diamond shape -figures in this case) are, by actual measurement, exactly the same size. -The horizontal line across the one at the left, however, makes it appear -much wider than the one at the right with the vertical line through the -center. - -Now study the clothes of the two women which illustrate these illusions. -Both women are holding their arms so as to give their figures a sort of -diamond shape. The one at the left, however, by her broad, drooping hat, -her large, bulky fur stole, the large-figured material of her tunic, and -especially by the horizontal, or nearly horizontal lines of her neck, -her girdle, and the band of fur on her skirt, gives herself the -appearance of conspicuous stoutness. - -[Illustration: - - The middle lines in the two small diagrams are the same length. But on - the left, shorter accompanying lines seem to shorten the one - between. On the right longer accompanying lines seem to lengthen the - one between. -] - -[Illustration: - - Now see how the woman at the left has unknowingly emphasized her - stoutness while the one at the right has properly gained a slender - effect by using trimming in accordance with the principles of these - optical illusions. -] - -On the other hand, the woman at the right has designed her costume -entirely on the principles of vertical lines. The tall hat with its -appropriate trimming, the long, simple lines of her collar, her -neck-piece, the row of tiny buttons down the front of her dress, and -indeed the lines of the dress itself all conspire to give her the -appearance of height, smartness, and slenderness. - - - MAKING YOURSELF TALLER THAN YOU ARE - -By the illustrations on pages 30 and 31 you may learn the value of -emphasizing a long line by the trick of placing it between two longer -lines rather than between two shorter ones. As in the previous examples, -the middle line in each figure is identically the same length. The one -at the left, however, appears much shorter than the one at the right, -because of a suggestion contained in the parallel lines which surround -it. - -In the dresses illustrated here, this principle is strikingly applied. -The _short_ vertical bands of trimming in the figure at the left make -the center band seem _shorter_ than it really is, whereas, the _long_ -vertical bands in the figure at the right make the center band seem -_longer_ than it really is. Thus, by the application of this seemingly -unimportant trifle, the woman at the right seems slenderer, taller, and -smarter than the one at the left. - - - LINES THAT SLENDERIZE TUNICS - -Just one more example. The figures on pages 34 and 35 show how a longer, -slimmer effect may be created by parallel lines _emphasizing_ an oblique -or slanting line. In the figure on the left the plain oblique line seems -much more horizontal and wider than it does in the figure on the right -where the same line, actually on the same slant, seems much longer and -more graceful because of the parallel lines which break it and thereby -emphasize its length. - -This effect is gained by using the simple principle of optical illusion -shown in the small diagram on page 35. The line running down from upper -left to lower right is actually straight—test it and see. But the two -perpendicular lines which break it cause it to seem to drop faster than -it really does. This gives the effect of greater height and less width -to the entire figure. - -[Illustration: - - Note the diagonal line in the opposite diagram. It is actually - straight, but the vertical lines which break it give it a - “going-down-steps” appearance. This principle is used in the dress - at the right—the two vertical panels of trimming break the line of - the tunic and give the whole figure a more slender appearance than - in the figure above. -] - -[Illustration] - -Dresses planned with this principle in mind will surely be more -successful in their slenderizing effect, as you will see by these -contrasting illustrations. The oblique line at the bottom of the tunic -in the dress at the left seems almost horizontal and much wider than the -same line in the figure at the right which is made to seem longer and -more graceful by the parallel vertical lines of embroidery which -intersect it and so emphasize its appearance of length and grace. - - - APPLY THESE RULES TO EVERY ITEM OF YOUR ATTIRE - -There are dozens of other tricks which our eyes play on us which must be -taken into account by women who want to look slender. A very careful -study, therefore, of the optical illusions in this chapter will repay -you many times in the matter of line, cut and pattern of every dress, -wrap, hat, and pair of shoes that you buy. You must see that the facts -of illusion may either work to produce an appearance of bigness or one -of smallness. Every suggestion in this book is written with the idea of -applying these essential principles of optical illusion to your dress—of -producing in every case the slenderest possible effects. - - - SECRETS EVEN THE SLENDER WOMAN MUST KNOW - -Not only very stout women, but moderately stout women, and even slender -women should also bear these principles in mind, for even the slender -woman can lose all the advantage of her slender silhouette and may -actually appear stout by failing to dress in accordance with these -optical illusions. An ill-chosen or badly-designed gown or wrap may -easily give her the appearance of being many pounds heavier than she -really is. - -When you yourself begin planning your clothes according to these simple, -though magically effective rules, you will very soon begin to find real -artistic pleasure in your clothes, to say nothing of the improvement in -your appearance. I am certain that you will feel about it as I did, that -here at last is the only real and permanent way to look slender. For -even though by strenuous efforts you are able actually to reduce your -weight, it is not pounds, but appearance, that counts. You may know what -the scales say, but other people will weigh you with the eye. Dress so -you look slender and you can stop worrying about your size and weight -and be as healthy, happy, and attractive as any of your slender friends. - - - - - CHAPTER III - THE LITTLE THINGS THAT MAKE THE BIG DIFFERENCES - - -As I told you in Chapter I, the stout woman has a great many good points -which she sometimes neglects in worrying about her main problem. This is -a great mistake because after all the little things _do_ make the big -differences and there are so many little things that you can do with -scarcely any effort at all which help so tremendously in gaining the -effect that you want. - - - WATCH YOUR STEP - -For instance, there is the matter of walking. I am not going to give you -any definite exercises, but it is a very easy and splendid practice to -try to walk with a “slipping up” step, that is, practice walking easily -so that you won’t appear to weigh a thousand pounds. If you are light on -your feet people will forget to guess your weight. Don’t let your body -slump down, if you have this tendency. Find some exercises that you can -do happily and comfortably, not to reduce, but to cultivate grace and -ease of motion. When you are all alone in the house and nobody is -looking, trip around lightly and exaggerate a light, easy step. Turn on -the victrola and do your dusting to music. It will help you wonderfully -in gaining that ease of motion which is attractive and pleasing and -encourages youth. Always endeavor to overcome heaviness in step and -movement, for it adds years both to your appearance and to your -feelings. Remember that your attitude has so much to do with your good -looks. - -Don’t ever stand with your feet apart or your hands limp at your sides. -One foot a little in front of the other gives an easier appearance and -makes you seem less weighty. Make a practice of keeping your hands -comfortably in front of you, never rest them on your hips wash woman -fashion. Such positions broaden the silhouette and give a “set” look -that is most unbecoming. A large woman with her feet spread apart and -arms hanging like burdens always at her sides makes a very heavy and -unattractive picture. - -Don’t cross your arms. Two fat arms can look like four, if you are not -careful. - -Stretch and keep yourself limber. Bend so that you are continually used -to it, then your face won’t get red every time you drop your -handkerchief. And right here it may be well to say that most women use -up more energy than they need to and look much more undignified than -they need to when they stoop to pick things up. It is neither necessary -nor graceful to bend so that your back almost breaks in the middle. It -is a much easier and pleasanter gesture to bend at the knees and go -straight down until you can reach the object you want to pick up. In -doing this you can keep your head straight up all the while and need not -get red in the face at all. - - - WHAT YOUR POSTURE CAN DO FOR YOU - -Learn to stand up straight like a soldier. Most fat women seem to have -the idea that they ought to “scrooch” down and disguise their size in -that way. But in this campaign to dress and be thin the back-bone must -be definitely straight. Don’t hunch yourself up and look like a pillow -tied in the middle. Sit straight on your chair and stand straight when -you are up. Hold your head high. A constant practice of chin up makes -you appear taller and erases in the easiest possible way any tendency -towards a double chin. - -Dressing up to your weight is good psychology for it keeps you alert. -You hold your head a little higher and grow naturally to observe that -essential rule of standing always just as tall as you possibly can. -Also, your mental alertness is a safeguard against additional fat. I -never knew it to fail—a definite interest in clothes, in looking one’s -best, keeps the fat away. It has a sort of a rabbit-foot charm about it -that really does work. - -Remember continually that it isn’t the dress alone that you need watch, -but every detail, for the little things can destroy the big, you know, -and the principles of optical illusion must be adhered to as strictly in -the little things as in the big. For instance, eyeglasses can accentuate -a round face or slenderize it, depending upon their prominence and -shape. Buttons can stick out and look bulky; shirtwaists when worn with -different color skirts can cut you in two; and belts of different color -than skirt or blouse can prove even more treacherous. Gloves or shoes -that are too small give your size away. Lacy stockings emphasize where -they shouldn’t and are as faulty as they are expensive. Before we get -through with this book I hope that I can restore your pride and -self-assurance and that by making the most of these little pointers you -will find your back-bone right where it ought to be. You will then be -able to meet the world with a smile, knowing that at last you not only -feel but look better than you ever have before. - - - SHOES AND STOCKINGS MUST BE SELECTED WITH CARE - -What kind of shoes and stockings do you wear? Not pumps, I hope, because -your - -[Illustration: - - Above—Neatly shod feet. - - Left—Low cut pumps and single strap emphasize fat. Heavy shoes have - too much decoration. - - Stockings must always be on straight and well held up, and shoes must - fit. Straps that hold firmly are more effective than those that are - narrow and less restraining. Heavy shoes should be plain in design. - Skirts should always be long enough to cover the largest part of the - leg below the knee. -] - -weight is too great to be comfortable in them, and besides if you have -studied the principles of optical illusion as carefully as you should -have, you will realize that pumps will not give you the harmonious -effect that you want to achieve in your costume. A bulge is sure to show -at the top which is not only uncomfortable for you but shows in itself -that you are fat. Wear a strap or laced slipper—any kind that is in good -taste, big enough, and not too heavy. Heavy shoes on a stout woman -interfere with lightness of movement which is something for which you -must continually strive. - -Unless you have very attractive, well-proportioned feet, do not attempt -to decorate the bottom of your dress, for it will not only shorten you -but will call attention to your feet. If they are very small they make -the body appear larger and if the ankles are large they give an -undesirable heaviness, so that the very best way, in any event, is not -to call attention to them. - -Many authorities say that a black sheer stocking is the very best that a -stout woman can wear, that a heavy black or dark colored stocking is -conspicuous, and a light stocking is “taboo” because it breaks the -height and interferes with the straight line effect. So choose sheer -stockings, but don’t hesitate to buy “out” sizes if you need them. If -they are big enough over the knees they will fit better around the -ankles. I know some big women who refuse to buy “out” size stockings -because they are ashamed to go in and ask for them, and I know some -medium slender women who buy them because they think they last longer. -So pretend that you are medium slender and buy them if they are more -comfortable. - -[Illustration: - - Round necklines emphasize width. Even though tempting, they are taboo - for those who would slenderize. Long necklines are always pleasing - and are of many variations. A close study of current fashion books - will give ideas that can always be accentuated in length without - outstepping Fashion dictation. -] - - - NECKLINES ARE SLENDERIZED BY CORRECT JEWELRY AND COLLARS - -We big women usually have some one who loves us enough to give us -jewelry and we in turn love them enough to want to wear it on every -occasion. If it doesn’t express slenderness—if it’s a big cameo or a -heavy pair of earrings or a string of round marble beads, especially in -dog collar arrangement—put it away and forget where you put it. Wear -such jewelry some morning when no one is looking; have your own little -“revelry” and have it over with, for such jewelry puts on more pounds -than entire boxes of candy and makes us look like jeweled couch -cushions, which we can never afford to do. - -A necklace that is slender, well made, and with a tendency to plainness -is a real asset to a stout woman as it helps the collar line, -slenderizes the face, and gives the appearance of length over the front -that is pleasing, but avoid by all means heavy crystals and don’t ever -wear beads unless they give a definitely desirable lengthening effect. - -Watch your collars closely. Work for slenderness and becomingness. Avoid -all neck lines that go around or that are conspicuously colored. A cream -collar is always better than a snow white one and a soft piqué or linen -collar is better than a starched one. Remember that long string ribbon -ties can be real friends if you will let them. Tailor your collars or -use soft lace that is not baby looking. We big folks must _always_ keep -away from babyishness, must learn to stand on our own two feet and look -straight ahead toward the goal of slenderness. - -[Illustration: - - Gloves, purses and necklaces need to be chosen with infinite care to - aid in slenderizing. Link chains, cords, fine pearls or small oblong - beads are best as necklaces. Slender flat purses are desirable and - neat, well-fitting gloves necessary. -] - - - PURSES, FANS AND OTHER ACCESSORIES - -Pocketbooks and purse bags must be slender, never round or bulky -looking, and must always harmonize with the dress and never be -conspicuously colored. Remember too, not to let your bag dangle -awkwardly from your hand or add to your width by the way you carry it. -Let it be a part of the line of your costume just as it is in harmony -with the color. - -Graceful fans of subdued colors often aid in a pleasing gracefulness, -but little fans allow of an uncomplimentary comparison, just as do -small, gay parasols. - -Fat fingers are shortened and made more fat by heavy rings. - -Earrings widen the face. Sometimes a slender face accompanies a broad -body. In such a case, earrings are an advantage if they are appropriate -and graceful. - -Jeweled belts, conspicuous in ornamentation, must all be given away to -willowy friends, because they could prove helpful to them and a menace -to you. - - - NEATNESS AND CLEANLINESS ARE ESSENTIAL - -Once when I was writing a book on dress, a fashion authority and -personal friend insisted that I should not put in a chapter on -cleanliness, which I wanted very much to use, saying that it “put an -ugly frame on an otherwise beautiful picture.” But personal cleanliness -and careful grooming to my mind are so necessary that no book on dress -would be complete without them. - -We may not have beautiful clothes, and may grieve that we are not -willowy enough to wear the smart extremes in dress, but our grieving is -totally unnecessary. We can learn truly to be as attractive, as -admirable as our slender sisters if we set out with the will and -determination to express perfection so far as our ability and -intelligence will allow. A fresh bath, some bath talcum, clean, -well-fitting underthings, neat, good-looking shoes, and modest stockings -can give an enhancing foundation for the dress we have so carefully -planned. And when we are spic and span from the inside out we are sure -to dress with more dignity, more poise, than we possibly could -otherwise. - - - COSMETICS EITHER ADD OR DETRACT - -Thick lips should never wear rouge, and black eyebrows should never be -blackened; neither should a pale, grayed face be surrounded by a dull -gray or black hat. This is all out of key and attracts unnecessary -attention. We must express some color tone, just as we do personality, -but it must be subtle or vivacious, discreet or bold, and in both cases -must be individually becoming. - -If the eyes are dull in color, do not wear bright colors on your hats -for the eyes lose in comparison, and eyes can always express friendly -happiness and individuality if we surround them properly. - -Avoid a shiny nose as you would the Plague. - -Beware of oily creams. Remember an astringent reduces and controls and -that 99 cases out of a hundred need oilless creams rather than oily -ones. Beware of rouge. Your face usually will have color enough. If it -hasn’t, use it, oh, so wisely. - -Study your face carefully, experiment with color in front of an honest -mirror that is placed in full day light. Rouge and powder rightly -applied can narrow the face and prove very advantageous, so experiment -and put the color just where you need it, but don’t put on any until you -have picked up a couple of things from the floor and walked around the -room quickly at least twice. Work to look immaculate. It is so much more -becoming. Baby faces and full proportioned bodies don’t go well -together, and harmony we must have throughout this program. - -If your forehead is low, powder the forehead generously and comb the -hair back as much as becomingness will allow. This will tend to add -height to the body and length to the face. - -It is said that a large woman is usually very dainty in her habits just -as a large man invariably has a very tiny, neat signature, so let it be -an asset, and be dainty about your use of cosmetics. It is so much more -pleasing than an extravagant use could ever be. - - - THINK OF THESE LITTLE THINGS BEFOREHAND - -Buy a few things and have everything right. Think of all of your -wardrobe at one time. Be sure that everything goes together agreeably. -Take care to keep every part of your clothing in good repair and -immaculately clean. Every woman can gain a reputation for being well -dressed if she remembers not to be haphazard in buying, wearing, and -caring for her clothes. If you have any of these habits, come, let us -talk them over confidentially, because I, too, have had to learn by -sheer necessity to overcome, one by one, these very expensive, annoying -tendencies, and the only way I succeeded was to learn, as a matter of -habit, to hang things up carefully when I took them off, to make sure -that dress shields were in place, and to take special care to have -everything in right shape when it was time to dress. - -Take very special pains to have all supporters securely fastened, -stockings on straight, and each garment rightly in place, for neatness -in dress is more essential for us than almost any other thing. In fact, -fastidious care of person and clothes is one feature which requires -constant vigilance. - -Avoid every tendency toward over dress. Don’t trim yourself too much. -Modesty, simplicity—intricate simplicity perhaps, but a beautiful -simplicity—is a definite part of our program and must be followed out -religiously to conceal at all times an extra 30 or 40 pounds. - -Be sure that the brassiere and corset overlap at their joining. The -brassiere should come over the corset a good 2 inches to insure its -holding. If the abdomen is full or stomach high, supporters fastened to -the brassiere at the front are an advantage. - -Never allow your shoes to squeak or your gloves to pinch in their -tightness. Never allow a spot to show on any garment. Be immaculate, -work at it, keep at it, for you, you know, have a definite purpose that -must be achieved. - - - - - CHAPTER IV - FOUNDATIONS THAT SLENDERIZE - - -Although this is termed the corsetless era, the best dressed women are -still wearing corsets and will continue to wear them because they -realize the necessity of retaining lovely curves and lines. When the -slender woman is careful about her corset, what must the responsibility -be of the large woman? It is just this—that she must wear a corset—that -she must select it with such care and have it fitted with such -perfection that even she can forget it once it is on. No evidence of a -corset is ever seen on a correctly dressed woman. - - - THE ART OF SELECTING YOUR CORSET - -Wear corsets for comfort and perfection in dress, not with the thought -that they will reduce. Remember that you always need your wits and all -the alacrity of thought you can master and a too tight corset paralyzes -both. - -Read with me through this section because here you will get some real -help and be able to _apparently_ reduce your hip measure two inches and -your bust possibly six. - -Do you know that when your corset is a 28 waist or over you are counted -by the corset manufacturers in the stout class? That seems absurd. One -would think they would wait at least until the measurement was 30 or 32 -before calling one stout, but since this is so, no one need be sensitive -about ordering a size that is right. That means large enough usually, -for you have a long range—26 to 46 waist measurement—so buy a corset -that is big enough, that allows the flesh to rest comfortably yet be -properly controlled. Tight corsets are a menace as are tight brassieres, -and by packing the flesh in a fixed position, grace of movement is -destroyed and you are made to appear actually larger than you are. - - - HOW TO KNOW WHEN YOUR CORSET FITS EXACTLY - -Don’t ever let your modesty or your pride keep you from being fitted -properly. All merchants and corsetieres expect to fit the corsets they -sell. They know their stock better than you do, and realize that a -proper corset can definitely and permanently help in correcting line, -moulding it easily and gracefully, making a satisfied customer for them. -A full proportioned figure is ugly only when it runs over. Graceful, -even curves are pleasing to see, and we big folk can make our own curves -graceful if we will. - -[Illustration: - - Your corset should be long enough to hold the flesh securely and - evenly. But the front stays must be short enough to allow you to sit - and bend comfortably. -] - -Always sit down in your corset when it is being fitted to make sure that -the stays in the front are not too long. They may be shortened easily -and are much better, because you cannot comfortably sit rared back as -you must when the stays are too long. - -[Illustration: - - “A” illustrates a corset long over the hips and with elastic inserts - at the waistline, suitable for a medium figure. - - “B” shows a heavier type suitable for short figures that require - considerable support. - - “C” shows a very comfortable and practical corset suitable to medium - large figures. - - “D” shows the front and back of a girdle corset with elastic inserts. - This gives a youthful line, particularly suited to the athletic - type. -] - -[Illustration: - - Rubber, or silk and rubber corsets or combination corsets and - brassieres give a smooth outline and often are graceful and - becoming. When new they reduce the hips two to three inches. Be sure - to have them fitted properly. If too small, they are very - uncomfortable; if too large, useless. - - Corsets that lace or fasten in the front give a smoother back and are - more easy to adjust than are back lace corsets. Their height, - length, elasticity and weight must be considered in buying and - fitting, so that your corset when on is in nowise evident to you in - feeling or to the eye. A corset does not fit correctly if the line - of either top or bottom is visible when the dress is on. Corsets - should be kept in perfect repair and discarded when their line is - lost. -] - - - WHICH IS YOUR TYPE OF CORSET? - -Some corset folks say there are eleven types of women to fit, others -nine, others six. But, in general, these are the usual types: - -Mrs. Brown is big in the hips and small in the bust. For her type of -figure a corset low above the waist, long in the hips—front laced, is -best. Supple corsets, long in the back, are a preventative against a -large back and help to slenderize. They should, therefore, be worn as -long as grace and comfort will allow. If they are too short, a roll of -fat will form around where they terminate and cause you to lose the easy -curve that even big folks can be proud of. Mrs. Brown should also have a -slip to wear over the corset in preference to a brassiere. The slip -should be semifitted, shaped over the hips so that not a wrinkle or line -will show. - -Mrs. Jones—another stout type—is normal size but large in the abdomen. -She should have a corset fitted close over the hips, but not tight in -the waist, allowing the fat to drop down in the top of the corset and -find a comfortable resting place. A brassiere that is long in the front -should be worn. - -A square shoulder, broad hip type of figure needs a deep girdle—an -elastic one is best—one that is low in the waist, snug and straight over -the hips with an easy fitting boyish form brassiere. - - - THE BEST KIND OF BRASSIERE FOR YOU - -“And what is a boyish form brassiere?” you ask. A straight piece of -material with the darts coming down from the top in the front. You can -make one for yourself in a few minutes. For a fashionable line across -the bust don’t ever dart from the waistline up, as we have been doing in -the past. For when you do, the fullness is pushed up under the chin, as -it were, and actually will add six inches to the bust measure. If you -are small in the waist and large in the hips, you can, by right -corseting and “brassiering” cause some of the fat of the hips and -abdomen to come up slightly, thus acquiring a more slender and better -balanced effect. But as a general rule, let your watchword be: -Distribute the fat comfortably and correctly. Don’t crowd it or push it -here and there. Your face, your disposition, and your figure as well -will show it if you do. You can’t be uncomfortable and be well poised. - -[Illustration: - - Brassieres are as necessary as corsets. They should never be so tight - as to bind, but always close enough to give a smooth outer line. - They must always be high enough to confine the bust perfectly and - long enough to come down well over the corset so that an unbroken - waistline is attained. - - Darts at the tops of brassieres give good bust control and hold the - garment in correct position on the figure. -] - -Hunt for the “large above the waist” figure. If the bust is very low, be -sure to wear a brassiere that lifts up slightly and confines -comfortably. Youth in its greatest perfection can have unconfined busts; -older women, especially large women, should take care that no shaping of -the bust is discernible. If V necks are becoming and the bust is full, -provide a band of ribbon or a double fold of Georgette and wear it over -the brassiere, pinning it tight and high around the figure. This will -conceal the crease between the busts. - -Finally, don’t fail, when you are being fitted in your corset, to stand -up in front of a mirror, walk right up and “shoulder arms” and survey -yourself. The corsetiere is sure to be stout. Who ever saw a thin one? -She will sympathize with you and be patient. Try on her best models—not -her silkiest ones, but her best designed ones. Sit down, stand up, bend -over. Buy the one that shows the least red in your face when you bend. -Be sure it has plenty of supporters. - -[Illustration: - - Left—Corselettes may be worn by large women having firm flesh, the - “athletic type,” but exercise must go with them to prevent an - accumulation of flesh that is sure to occur when the body is - unconfined. - - Right—Brassieres for evening wear may have a firm band of ribbon sewed - tight to the top and this brought around and pinned securely at the - center back. Drawing this close will insure the garments staying up - properly. -] - - - THE IMPORTANCE OF SMOOTH, PERFECT FITTING UNDERTHINGS - -Put your corset under your arm, stop and buy 2½ yards of 40–inch -nainsook or crêpe de Chine, go home and make yourself a combination -slip. This is to be worn over your corset and brassiere and will give a -perfectly smooth foundation for your dresses. Remember that your corset, -brassiere, and slip must be so well fitted that no bumps or hangovers -will be evident. - -We fat women—and I don’t know why—have a natural hankering for lacy -underwear, and that hankering is just as uncontrollable as our appetite -for luscious bonbons. I do not intend to tell you that you can’t have -lovely undergarments, but you must make sure that the lace or trimming -is put where it cannot bulge out. - -Knitted underwear fits best, but you needn’t wear just the most ordinary -kind, because with a little ingenuity a plain, inexpensive piece can be -bought and trimmed attractively with bands or strips of lace, straight -line fashion, so that they will have a dainty, handmade look and yet be -as smooth and straight on the body as can be. Combination suits similar -to those illustrated are suggested for slenderness. If you have ruffles -on any that you have in the dresser drawer, take them off. Press out the -ruffles and stitch the bands on plain. Don’t indulge in ruffles! - -[Illustration: - - A variety of slips are shown. The one at the left has a 2–inch band of - fine net at top and bottom. This as a substitute for lace is quite - as dainty and less bulky. - - For a full bust, the diagonal darts at the right are advantageous, as - they make possible a straight slim skirt. -] - -[Illustration: - - For your slips remember that stripes partially concealed are effective - yet unobtrusive, as for example, a striped slip under a plain voile - or georgette dress. If you are broad through the shoulders, shape - the slip to reduce the width. Deep hems make extra petticoats - unnecessary. Fulness in a slip is essential, otherwise the garment - will pull up when you sit down, making you seem stouter than you - are. An inverted plait at the center back or at the sides is the - best way to add fulness. -] - -[Illustration: - - In selecting underwear, choose light-weight, smooth, close-fitting - garments—fine knitted ones or those of softest muslin. - - A shirt and bloomers are preferred by some—others, the straight - combination. Select that which suits you best, but keep in mind the - essentials of slenderness. -] - -Omit all draw ribbons at the top of lingerie. Use tiny lengthwise darts -to fit the garments close and smooth. - -For the same reasons, omit all gathers at the waistline. Fit the garment -so smooth that not a wrinkle or line is visible when the dress is on. - -By following these really simple rules in regard to your underthings you -are ready to give your attention to the part of your costume which -shows; namely, dress, wrap, and hat, but don’t make the mistake of -thinking that these are the only things that show. For without smooth, -perfectly fitting underwear, corset, brassiere and slip, your outer -garments cannot possibly give you that appearance of sylph-like -slenderness which is your goal. - - - - - CHAPTER V - CARDINAL RULES FOR DRESSES THAT CAMOUFLAGE SIZE - - -We will now assume that right corsets and slips have been acquired, that -you see and realize the possibilities of optical illusions and that a -keen desire is evident to avoid, overcome, and correct every fault that -hinders a right expression of clothes. I use the word “right” in a broad -sense, because in working to look slender in dress you will necessarily -achieve a happy degree of perfection that will prove quite as much of an -asset as the appearance of slenderness. - -I know you are eager for the start to actual rules and formulas, but -first we must acquire enough “feeling” for line, color, and fabric to -use the three wisely. The most economical way to do this is to start -with what you have on hand. - - - REMODELING YOUR PRESENT WARDROBE - -To the closet now. - -Take out your big-figured dress. Every large woman owns a figured dress -of some kind. There is something different about you if you haven’t one. -I don’t know why, but evidently we all have felt that we might get lost -in the expanse of the pattern and become less conspicuous. - -Take time to put this figured dress on so that you won’t get red in the -face doing it. Yes, you will find it is too short waisted; the sleeves -are too short, the neck is too high, the skirt too full. You hated to -admit that you needed a 44 pattern so used a 42 and allowed a little -extra room across the hips. (I know just how you felt, for I have done -the same thing myself). - -Now survey yourself in front of the mirror. - -You haven’t any goods like the dress, so you must add something to it. -For a figured dress of Georgette or silk, plain color Georgette is -suggested. See on page 73 how the sleeves are lengthened by a deep cuff, -the collar effect lowered by a scarf, the waist let down and made looser -by means of the excess material in the skirt. - -[Illustration: - - Here is a large-figured dress remodeled to give it length lines and a - more slender appearance. The neckline has been changed, the heavy - prominent girdle removed and a narrow belt substituted, the - waistline dropped, the sleeves lengthened and a scarf of plain - material added. -] - -Next, try on that plain tailored dress that you have been planning to -rip up or give away. If it has an out of style waistline or heavily -braided revers, make up your mind to sacrifice them now—to rip apart and -to take off the revers. Consider some black satin if the dress is dark -blue, or some white piqué if white is becoming, and think of the -improvement some long, slim revers and some dainty turn-back cuffs will -make. - -Take the belts or waistlines off the separate skirts that you own and -visualize how some plain boyish form brassieres as camisole tops for -these skirts will improve them, joined as shown on page 75 in either one -of the ways suggested. Your blouses may be worn over these. By this -method you may not be able to camouflage the size so readily but you can -decrease the appearance of years by a considerable amount. Isn’t it easy -to see that on page 77 the silhouette on the right is years younger than -that on the left? - -Try on all the dresses you have. Consider the tightness of the waist and -the length of it. Look once again at the little figures in Chapter II -that illustrate so well the laws of optical illusion. Remember that if -you are fat in the back your dress must have some kind of a neckline -trimming or scarf collar, long and slim as on page 79. This makes a -lovely addition to any dress. - -[Illustration: - - Camisole tops are advantageous and will allow a skirt to appear easy - on the figure. - - For wrap-around skirts always allow fulness by panels or concealed - plaits so that your skirt will not stretch unshapely when you sit. -] - -After you have had this little seance with yourself in the fittings, get -out your dress form, wrap it with cotton, cloth or soft tissue paper -until it is as big as you are, put a straight line lining over it that -fits you easily and yet perfectly, then put your dresses on it. Loosen -them at the waist, ease the sleeves if necessary and work to add a -little youth, a little smartness, a little trimness by means of -additional materials used in a wholly intelligent way. - - - SELECTING NEW CLOTHES THAT WILL SLENDERIZE YOU - -Now that we have improved the clothes on hand, let us think about the -purchase or making of new ones. - -If you make your own clothes you can work out the points for yourself as -you adopt them. If you have a dressmaker, gain her cooperation. She may -not understand the principles of “optical illusion,” but she will be -delighted to have suggestions that tend to slenderize, and I am sure she -will work with you happily in carrying out the ideas and instructions -given. - -[Illustration: - - A shirt waist dress, when all of one color, is often becoming, but the - lines must all point downward and the waist line must be straight - and easy. - - In remodeling, as you see, a new collar has been provided, the - shoulder shortened, fulness cut out at the shoulder, cuff narrowed - to allow the sleeves to be lifted, the belt opened and lined to give - ease and width. - - The skirt was shortened at the top and attached to a camisole - brassiere. The fulness of the skirt was brought around and tucked to - give desired length line. -] - -Before buying a new dress, suit, or wrap, study fashion pictures, dozens -of them, and try to determine how your type should express the “new” in -fashions. Choose what you like best in the new mode, cut out the -pictures from the magazines and fashion publications, go over them -carefully again and again, and determine by study and elimination what -dress and wrap will give the best result for the money spent. - -As an aid in obtaining other valuable pointers, when you go into the -shops to try on new dresses, observe the saleswoman very closely. - -She may not understand either what you mean by “optical illusion,” but -if you understand the principles you can get a great deal of help from -her for she will let you know at once what is out of proportion in your -figure, what there is about your shape that doesn’t correspond to their -models. She will invariably say, “I am afraid your hips are too big for -that dress,” or “We have only a few dresses that will fit you. You are -too large in the bust for that,” etc. Now, keep your disposition and -listen, then determine to go home and concentrate upon making less -conspicuous the part that strikes her as being out of proportion. -Remarkable improvements may be made in this way and the “hardened” -saleswoman can truly be of service, for she, unlike your friends, is not -inclined to flattery unless she has visions of a sale. - -[Illustration: - - Even in a surplice waist, length can be attained, as the illustration - shows. Sleeve trimmings should be avoided that come even with the - waist line. As you see, they give width where length is needed. - Heavy stiff trimmings are difficult and must be very smart to be - attractive. The softer, more slender the trimming, the better - usually. Skirts should be designed to be free of flare. -] - -[Illustration: - - Current fashions are always whimsical but back of every dress or - underneath it is a foundation that makes the skeleton of the dress. - This you must observe in every pattern you use or dress you buy. The - trimming you can vary to suit your needs in slenderness, but your - foundation lines must be suitable if you use trimming. - - A variety of dresses are given, shown on the opposite page—the waist - line dress, the narrow panel front, the wide panel front, the draped - side line, and the tunic line. These represent good foundations and - are in themselves slenderizing, providing you adhere to the code of - long lines and simplicity in decoration and ornament. -] - -Only careless persons can afford to buy clothes haphazardly. Even the -slender woman thinks about them and plans about them. And just consider -what a corps of helpers she has! A thousand hands to work to make modish -clothes for the perfect 36, while only a dozen in proportion are working -for us big folk! So it is easy to see why we must learn for ourselves -what we can and cannot wear, what to emphasize and subdue. “We cannot -eat our cake and have it too,” is a line familiar to us all. We can’t -enjoy our pounds unless we work to dress them so that their number is -not even surmised, let alone accurately guessed. - -One clever woman I know, capable of making her own frocks and coats as -well, visits the exclusive shops, buys the most becoming, simple dress -that she finds, often paying as much as $200 for it. This she copies in -other shades and materials, developing three or four distinctly becoming -dresses at far less cost than the original gown. By averaging up she has -modestly priced frocks, all smart, in good taste, and wearable. - -I have always said that if I should ever go into the dress business, it -would be to make slender dresses for big folks, and I would employ all -big women to sell them, because, as I said about our jolly big friend, -the corsetiere, she has an understanding heart, knows how difficult it -is to find dresses that have enough youth, enough value in line, and are -sufficiently becoming to us who tip the scales to any great degree. And -she would lend aid to the discouraged soul that needs to seek and try, -experiment and insist until she finds that which is becoming. - - - THE TRUTH ABOUT SURPLICE FRONTS - -When the bust is full and the skirt length is short it is wise to use a -panel effect in the front and let the belt or waistline finish extend -around from side to side across the back, thus leaving an unbroken front -line. As a rule, the large figure looks best in a very long waistline, -but this does not apply to such proportions as these. - -It is always wise for this type to beware of surplice front dresses. The -mature figure, flat in front, can wear a surplice very well and often it -serves to relieve an undesirable plainness. Many fashion artists, when -they draw full bust figures, take special pains to put in surplice -fronts, but experience will teach that it is very difficult to duplicate -in fabric the easy, smooth curve indicated by the pencil. - -[Illustration: - - A panel front is always more desirable than a surplice for figures - full in the bust. The seams provide a good fitting line and make - darts unnecessary. -] - -Surplice fronts are as difficult for a very full bust as are plain backs -on fat shoulders. If your back is full and round, remember to use tucks, -bands, folds, plaits, or something that will definitely break the width. -Panels also help, so don’t be afraid to use them. Big backs broken in -width are far more pleasing than broad expanses that know no -termination. Remember the panel can befriend you, so keep it close but -only when it can compliment you. If your back is fat and wide looking -after you finish with this book, it is your own fault, for on page 87 -you can see six simple ways of creating an optical illusion by lines -that make the back less wide in appearance. - - - SLEEVES FOR LARGE ARMS - -If your arms are fat, don’t wear long shoulder dresses or kimono -sleeves. They just aren’t meant for you. From point of style, -becomingness, service, they will fail you all the way. On the other -hand, don’t overdo narrow shoulders. Strike a happy medium. - -Upper arms that are larger than the armhole are quite common, and the -mistake is often made of fitting the armhole to the sleeve rather than -the sleeve to the armhole. Have the armhole comfortable and smooth and -set a gusset in the sleeves or increase the seams in cutting from the -armhole to the elbow. - -[Illustration: - - We can smile and aid our front, our back must always protect us by - being at least inoffensive and pleasing. - - Here are six ways to slenderize backs of dresses. Study them, find - that which becomes you best. Once you have found your line, hold to - it, but trim or effect it differently so that there is interest and - variety. Observe Fashion illustrations carefully for backs with - interesting length lines, and don’t allow yourself to forget that - they are just as important as the front in achieving slenderness. - - Remember that fulness at the hips is advisable, both as a protection - to the dress and to insure more grace in sitting. A dress that draws - up on the figure is always to be avoided. -] - -I know a woman who was wearing size 44 dresses that hung on her -unattractively and heavily. She said that she couldn’t get her arms into -the sleeves of size 40 or 42 models. A wise saleswoman ripped the sleeve -seams, inserted gussets and moulded her beautifully into a tailored -frock size 40. Since then she looks 20 pounds lighter, all because of -this little adjustment. - -A bias sleeve is sometimes a distinct advantage for a stout arm. Take -flannel or the heavy crêpes. A “tight as the skin” sleeve may be fitted -that has “give” enough for comfort, yet not a quarter of an inch -surplus. This type of sleeve is not suitable to flimsy materials, but -very good for the firmer fabrics and is sometimes economical for -cutting, as often the sleeve pattern can be placed on a true bias grain -to advantage. - -There are many details in sleeves to consider when you want to appear -smaller than you actually are. Your success is due largely to your -knowledge and its right application. So watch, look, and listen for -every hint that will aid you in expressing perfection. It is attainable, -and every achievement will stimulate greater desire and effort. - -Years ago, in fitting a well-to-do woman, who was very “heavy set” in -mind as well as in body, I remember that she would insist upon drawing -her arms up, crossing them over her ample bosom and saying that the -armhole was too tight and that more and more must be trimmed out until -her waist was unbalanced—narrower across the front than it should be, -wholly deforming the dress. No dress can be beautiful if it is out of -balance; it is contrary to every rule of right design. - -[Illustration: - - (Left)—A gusset at the under arm (left) is advisable when the arm is - larger than the armhole. - - (Center)—Sleeves cut on the true bias, as shown, are often - advantageous when very close-fitting sleeves are desired. - - (Right)—Beware of dresses that are too narrow across the chest. They - always make the bust appear larger. -] - -I know one clever designer who makes for her larger customers a very -firm net foundation waist with low square neck in front and back and -close-fitting sleeves that extend almost to the elbow. In this she puts -the dress shields. This net foundation, especially the sleeve part, -protects the dress, makes it last a third longer, and has the advantage -of confining the arms slightly. - -[Illustration: - - Measure and find out if it is your arms or your body you “need to - treat” in slenderizing. Sometimes very large arms accompany medium - bust measurements and vice versa. Knowing this makes for a wiser use - of line. - - If your arms are small in proportion to the bust, as in “A,” use a - normal shoulder line. - - If they are large in proportion to your bust, as in “B,” cut the - shoulder high. - - If arms and bust are large, use a length line on the sleeves, as in - “C.” -] - -[Illustration: - - A foundation lining of net that holds the sleeve is often advisable - for sheer dresses. Elastic should hold it at the waist. The bottom - of the sleeves and the neck may be bound or picoted. -] - - - SLENDERIZING FLESHY SHOULDERS - -Large shoulders are a problem because they can appear quite as full as -the bust and by the roundness add years, which, of course, nobody wants. -A collar that is just right in depth, not too deep or too short in the -back, is the first essential. For your individual type, you must make -experiments. Take a piece of muslin or paper and cut out modish collars -that you think would be becoming to you. Then try them on with two -mirrors and view the back, front, and sides, examining well down past -the waistline, because the collar line and belt line must always agree. -Turn under the collar edge, add to it, and after careful observation, do -what your eye tells you is best. Never let your collar be so long as to -look like a cape unless it is a cape; and don’t let it be of a length or -size to lie up on your back like a doily on a table. Attach it—have it -there for a purpose, that of giving a correct and becoming line. - -[Illustration: - - Let your collar aid you. Beware of collars (like those at the left) - that widen the shoulders or that cushion the back. - - Fashion often allows of back collar trimmings that are both - slenderizing and becoming, such as those at the right. Hunt for - them, then use them wisely. -] - -If you are full in the back, don’t wear shoulder capes or bertha -collars. Never wear heavy collars or babyish lace or ribbon, and avoid -collars of vivid color that contrast definitely in color with that of -your dress. - - - DISGUISING WEIGHT FROM THE WAISTLINE DOWN - -The first importance for a figure with most of the weight below the -waist is the design and trimming of the sleeves. It is a weakness in -which we must never indulge to plan for what should be graceful flowing -sleeves, but which usually turn out to be a tragedy of adding pounds to -pounds. In summer time and for evening wear, the sleeve may fit easily -but without flare and reach to a point just above the elbow, provided -there is no trimming feature or cuff. For all other types of dresses the -long, close-fitting sleeve is wisest. By adding to or taking from the -length of sleeves, emphasis may be given to any part of the body from -the hip line up, as the bottom of a sleeve is naturally a line which -will attract the eye, so that if this is in the wrong position it is -easy to imagine the result. Experiment with this feature, and convince -yourself of the truth of the statement. - -Some big women have a full abdomen like a man, which causes their skirts -to hike out at the bottom like ill-fitting maternity clothes. For this -type, correct maternity line dresses are best. A bodice waist that is -long in the front should be used. The skirt is attached to this quite -low in front, then side panels are applied to give a correct balance and -to widen the figure at the side. - -A variation of this figure has the full diaphragm but a flat appearance -just at the front of the hip bones. This type is recognized as difficult -to fit, although it is easily possible to conceal both points -satisfactorily. - -First, the full front figure must mask its size by long collars, panels, -plaits, or some flat trimming, bringing these down so that, if possible, -they may aid the hollow sides. Here again a thorough knowledge of the -laws of optical illusion will stand you in good stead. If your skirt -still pokes out at the hem in the center front, follow the suggestion -given previously and provide a corset that laces in front and that laces -up so that the abdomen is held in, also one that is loose enough at the -waist line to allow the flesh to rest up in it. A few suggestions are -illustrated that may be applied in making a new dress or in correcting -one that you have—or in perfecting a plain dress that you might -purchase. - -Oftentimes, a full abdomen has as an accomplice a sway back. For this, a -panel in the back that hangs from the shoulder and that is caught at or -below the belt line in the back is advantageous. A slightly low belt -line is also desirable. - -[Illustration: - - When the bust is large and the hips are small, lines as shown at the - left are becoming. A V-line in the vest may also be used if the bust - is not too high. - - If the figure is large and evenly proportioned, a definite centered - lengthwise line, as shown in the second design, will break the - width. - - If the waist is short and the skirt long, length lines, as at the - right, carried down on the skirt will balance better and detract - from the short waist. The neck line of this dress allows for a small - brooch or bar pin. -] - -Frequently, large figures—though this is also common to slender -folk—find that the back skirt length measure is shorter than the front. -Elderly folk, especially, find this trouble where the bust has shrunken -or is small in proportion to the hips. For such types straight line -dresses with a belt line across the back, or a narrow sash belt that -ties at the side, are advisable. Long collars are also efficacious, and -scarf collars particularly so. - - - NECKLINES MAKE A TREMENDOUS DIFFERENCE - -In order to counteract the roundness of the face, and provide some -contrast for its fullness, it is usually best to decide upon a neckline -emphasizing angles, not curves. Always have the dress cut well up at the -back but dropping down with straight lines to a deep V or square. It is -wise to have the neckline cut low and fill in the opening with sheer -Georgette, batiste or lace in an inconspicuous color, such as delicate -flesh or deep cream. - -The short stout figure with a short neck and medium small head is one -type of stout that can wear a U neck or a slightly rounding neck line -becomingly. Such a neck makes the head and neck appear larger and gives -a good balance. - -[Illustration: - - For sway backs or figures that curve in definitely at the back - waistline, a broken panel, as at left, is often advisable. It is - especially desirable if the figure is tall or very large. - - An interesting lengthwise trimming is shown in the central figure. - Such a line can be attained in contrasting or harmonizing fabric or - with embroidery tucking or plain stitching, and is adaptable to - tailored or sports clothes. Full front figures will find this line - especially advantageous. - - Very wide or large figures will see merit in side panels that divide - the front in three, as shown at the right. Such a design allows for - a close-fitting foundation dress and is especially suited to older - women. -] - - - THE IMPORTANCE OF THESE SLENDERIZING TRIMMINGS - -Think long and carefully about trimmings because a misuse of decoration -can mar the lines of an otherwise becoming gown. - -Trimming, judiciously placed, will add to the appearance of smartness -and may by its position break a wide plain surface into two or perhaps -three spaces, adding with each line another point to our illusion of -slenderness. - -It is essential that trimming be placed so as to emphasize length, but -do not make the mistake of applying it indiscriminately, but rather, to -draw attention to a closing, or to finish the edge of a panel or for -some similar useful purpose. - -Never use a large figured trimming or a bright colored banding. Plaids, -big polka dots, pronounced stripes, heavily embroidered fabrics or “gew -gaws” are not for the big woman. Strive for distinctive line which is, -in itself, simple. Wear as good quality fabric as your purse can buy, -but be modest about your size and any decoration you employ. Quantities -of string beads are to be avoided, too, as should anything which will -make the wearer conspicuous. - -Self fabrics, that is, the material of which the dress is made, is -always good. It may be tucked or plaited and inserted between cut edges, -applied as a band, or it may be used to form a cord, which in turn forms -ornament of various sizes and shapes. - -Small patterned laces in the wider widths are appropriate too, and add -richness and dignity to clothes intended for dress up occasions. Lace -should never be shirred because, as I have already told you, the stout -woman can never afford to be frivolous in her dress, and ruffled lace -would certainly make her so. - -Plaited panels are good, but these should always be held close to the -dress by the use of a French tuck from two to three inches long. - -The groups of vertical lines are always an effective means of increasing -height while the long tab will help to keep the panel from flying out as -one walks. - -Ribbon banding is effective both when stretched flat and when used to -form sash ends or ties. Such finishes must be generous in length, -otherwise they will add to, rather than detract from width. - -[Illustration: - - If foundation linings are used, plan them as carefully as the dress - itself. They must be easy yet fitted to perfection. They must also - be designed especially for the dress so that they will support but - not hinder the outer line at any point. -] - - - HELPFUL HINTS FROM A LEADING NEW YORK DESIGNER - -A designer in one of the big New York houses when asked as to her -success in designing becoming dresses for large women gave these few -valuable rules: - -“I never use sheer flimsy material. If I must use lace, I weight it so -that it is as heavy as any fabric. - -“I never use coarse stiff material—the softer and weightier the better. - -“I rarely use fabrics with luster or with big design. - -“I never use pure colors. I use shades chiefly, very seldom a tint, -unless it is a cream tint. I avoid all white for my large customers. We -see enough big men dressed up in white to know how much it increases -size. - -“I always make a foundation slip, smooth, sleek and close fitting. In -this I sew the sleeves. My dress is made separate and hangs easier and -straighter than it possibly could if it had the sleeves to hamper it. -Then, too, the dress lasts longer, which is a distinct advantage. - -“I give special attention to my customer’s hats, shoes and corsets. All -must be right for her or my dress cannot be a success. - -“Often if I find a model that is definitely becoming, I vary it in -different materials and colors, often making madam a half dozen -beautiful gowns from the one block. Why not, if it is most becoming to -her?” - - - - - CHAPTER VI - ESSENTIAL POINTS IN CUTTING AND FITTING - - -There are many skilful tricks in dressmaking that are advantageous to -the overweight figure. For instance, the shoulder dart allows ease over -the bust, makes a more comfortable shoulder, and permits of a close -fitting sleeve. It also prevents sagging of the dress at the underarm, -giving a neat good fitting effect. Don’t avoid or “detest” darts; learn -to use them so that you get the greatest possible advantage from them. -Watch an adept dressmaker smooth the material around and slip out the -dart in a line over the bust that fits smoothly and easily. Only -carelessly fitted and stitched darts are unattractive. - - - THE HELPFULNESS OF DARTS IN CERTAIN PLACES - -The crosswise armhole dart, too, has its advantages but is not good for -a broad shouldered or short figure as it widens the shoulder and cuts -the height, unless it is wisely made on a bias grain to slant down so -that a crosswise line is avoided. - -[Illustration: - - Darts are necessary for round figures, especially the underarm dart as - shown at the right center above. They are often advantageous for - flat figures, as at the left. They can, when wisely used, add much - to the attractiveness of a garment. Don’t use them, however, unless - for a specific purpose and slant them so that they give length - rather than breadth. - - Diagonal or bias lines such as shown at the right often are employed - for smart effect. They can slenderize, are distinctive and youthful, - especially if subdued stripes or twilled fabric is used. - - Rounding shoulders often need a few gathers at the neck line in the - back, as shown in the lower figure. Such gathers eased in insure a - better fitting, more comfortable collar line. -] - -The underarm dart is often used with a shoulder dart, especially for -very full busts. This helps to shape the material over the bust easily -and to give a smooth, straight underarm seam. Sometimes a dart is used -on the back seam as well as the front in cases where the back is fat and -round. In any event, fit your dress so that the underarm seam does not -drag, and so that the crosswise grain of the material is parallel with -the belt line. - -The hip dart helps to fit the skirt by providing a means of lifting the -fabric at the sides. If the hips are straight and not curving to any -extent, only a slight dart, if any, is necessary. But for large figures -a hip dart is desirable, especially for one-piece dresses. It should be -brought up so that the skirt hangs evenly all the way at the bottom. -Arrange the dart so that it comes directly over the hip or under the -narrow belt or waistline trimming. Remember that the larger the hip, the -longer the dart, and the greater the necessity for accurate fitting. - -[Illustration: - - Plaits rightly employed can give length and are often quite necessary - in Fashion’s catalog. But make them a part of the dress, surround - them, make them give length where length is needed. - - For instance, in A you find three forms of decoration, each with a - purpose. The plaits for length, the embroidery for interest, the tie - for color. - - In B plaits for length, buttons for finish, necklace for interest. - - In C the tucks must suffice for length, trimming and interest. Often - embroidery is desired and it can serve to give length if rightly - used. For instance D, a simple dress, is made pleasing with - embroidery that helps rather than hinders. - - Draped skirts, as in E, need not be taboo entirely, if the draping is - used for line emphasis and is soft enough to cling rather than - extend. - - Large figures often find a dress broken in line advantageous, as in F. - If the bust is large and hips small, the skirt should be favored - with the trimming. The upper waist line should be omitted if the - figure is in the least short. -] - - - HOW TO HOLD THE DRESS UP ON THE SHOULDERS - -If the back is fat and rounding and the neck fairly small, it is -advisable, in order to hold the dress well up on the shoulders, to run a -gathering thread across the back neck line. The fullness thus retained -may be eased in and shrunken out, if wool is used, so that no gathers -are visible but a comfortable neck is secured. Such fullness is not at -all objectionable in silk or cotton fabrics. - - - WHAT THE LONG UNDERARM DOES - -In our quest for becoming clothes, we are fascinated by the long -underarm line and feel sure that if we could evidence such a -constructive detail, we could look 20 pounds lighter right away. - -To achieve this, consider again what I have said about the corset, its -size and fit. Be sure that your corset has enough supporters to hold it -securely down. A corset that “rides up” or a brassiere that is too short -will definitely prevent a long, easy underarm. - -Be sure when your dresses are fitted that the crosswise grain of the -cloth is parallel with the waist line. Be sure that your waistline trim -or belt is placed as low as your dress length will allow—not low enough -to make you look top heavy, but low enough for your own height, size and -type. To find what this is, parade up and down in front of your mirror -with belts, bands, and sashes strung around your waist, one at a time, -of course, until you know which one is placed best for you. Don’t be -faddish, don’t be extreme, but be modish. There is a difference. Work -for becomingness so that the line you finally decide upon will surely be -right. - - - THE BIAS CENTER FRONT - -Cutting the center front on the bias may give a “silent” or a pronounced -line, depending on whether plain or striped material is used. It takes a -third more material to cut a dress on the bias, but since it is possible -to develop a very smart dress this way it is often worth considering. It -should be worn only by the type that can wear extreme things well, -however, because a dress cut on the bias is in no wise conservative. - -[Illustration: - - When styles call for plaits, plaits may be used, but not in widening - flares as shown above, rather in slenderizing length lines as shown - on the opposite page. -] - -[Illustration: - - Hats and shoes in these two pictures also illustrate incorrect and - correct choice. The wide hat and prominent straps opposite emphasize - width and weight; the neat hat and cross-strap slippers above help - to slenderize. -] - - - HOW TO ADD FULLNESS WITHOUT FLARE - -To allow fullness in walking, two plaits may be placed in the skirt at -the left side seam, one directly over the other, the right side of the -skirt being finished plain. This does not interfere with the slim line -effect, yet gives the desired freedom. Plaitings or panels of self color -that are 5 inches or less in width soften the line of a dress and, if -effectively used, can improve the garment both in line and -attractiveness, especially for the figure that is large above the waist. -An effective use of skirt plaiting can aid greatly in balancing the -proportion. - -If the waist measure is large, keep the skirt as straight and narrow as -fashion will allow, and watch your sleeves to fit them close and plain. -Short, full sleeves and a full skirt must have a small, short waist line -to be effective; they are totally “out of the picture” where the waist -and hips are large. - -Plaits aid in line and are youthful, but if fashion decrees straight -skirts we must stitch or press them down straight and slim, for -flared-out plaits are treacherous for us who would be slender. For the -same reason, we must avoid panels that flirt out as we walk. - -A corded girdle, sash, or string sash that is long and limp is becoming. - -Tunics, if not too full, and if not definitely trimmed at the bottom -edge, are advantageous. They slenderize by making it possible to draw -the skirt in at the bottom, thus giving an appearance of height. This, -of course, is lost if the tunic or the lower skirt is too full. Large -figures should always have tunics and foundations of the same color and -material so as not to break the height. - - - - - CHAPTER VII - FABRICS THAT SLENDERIZE - - -First of all, buy your clothes with deliberation so that they will look -as though they belonged to you, not as though they were bought in a -hurry. Deliberate buying is the economical way. Emergency buying in -clothes is like food from the delicatessen—it’s a “make shift” and an -expensive one. - -Buy for suitability, for smartness, and think of all the uses you can -make of a garment before you buy. If it’s a dress, what wrap or hat will -you wear with it? Does it mean new shoes, new hat, and gloves? If so, -then consider the advisability of purchasing another style which would -look well with the accessories you have and are wearing with another -costume. Buy few clothes if you must, but buy the best quality fabrics -your purse will allow. And buy carefully. Being well-dressed is not so -much a matter of money as it is information, for the well-dressed woman -gives evidence of discriminate deliberation, of knowledge applied to -selection, and of a wise choice of accessories as well as essentials. So -take heed and take your time about every purchase so that everything -harmonizes perfectly with what you have and so that every article, from -shoes to hat, has its part in aiding slenderness rather than in -emphasizing stoutness. - - - FACTS TO KNOW ABOUT MATERIALS - -Acquaint yourself with materials, their wearing qualities, their -clinging proclivities, and their color quality. By this latter, I mean -their ability to “take the dye” and be soft and rich in their shades, -because certain shades we must wear, and we don’t want to have them dull -and lifeless, like brownish black or grayish drab. We want them to be -deep and soft like those of beautiful old fabrics that have been ripened -to an inimitable softness by age. - -The most becoming colors for us come in good fabrics, so for the average -woman there must be economy in the number of dresses rather than in -their quality. A garment made in good style and of good material is more -of a credit to you when half worn out than a cheap new garment could -possibly be. - -It is necessary to remember, too, that materials with a glossy, -brilliant surface or finish, no matter what the color of the fabric may -be, are difficult to wear and are not generally becoming, because the -sheen and, in some instances, the stiffness tend to make the figure -appear larger. Materials of soft finish or dull colors, on the other -hand, will make the figure appear smaller and will attract less -attention. - -Every fat woman loves pastry and taffeta. We know that before we start. -Pastry you can eat if you study hard to dress correctly, but taffeta you -cannot wear because it sticks out where it shouldn’t and does not cling -as it should. The surest way to have you avoid it is for me to tell you -that it adds 20 pounds, and it truly does. The luster of satin -eliminates it from our list while the conspicuousness of large-figured -fabrics makes them equally inappropriate. When you see lengths of large -figured fabrics in the shops, you may be tempted, but do not buy. They -will thwart your whole purpose of putting into the clothes you wear the -lines that make for slenderness and grace. - -[Illustration: - - These two pictures illustrate improper and proper choice of fabrics - for a stout figure. Above, the large-figured material adds size, the - fur trim shortens, the round beads shorten the neck. All conspire to - emphasize weight. -] - -[Illustration: - - Here a small all-over pattern minimizes size, the plaits and tassels - lengthen, the necklace adds a slenderizing touch. The appearance as - a whole is graceful and youthful. -] - - - WHY AVERAGE “BARGAINS” ARE NOT AN ECONOMY FOR YOU - -Shun bargains of miscellaneous materials. Unless you are offered a type -of material that will slenderize, don’t buy it. And never stint your -dresses by using remnants. Your dresses should never have an extra inch -visible but likewise they should never in the least appear as though -they were stinted in cutting. And that means that you must always have -plenty of hems and facings and bias sleeves or bands if you want them. -Stingy, scrimpy hems on big folks’ skirts are a “give away.” Always buy -enough material for at least a 3½–inch hem, and more if fashion allows. - -It is pitiable to see a big man humiliated and equally so to see a large -woman in cheap flimsy fabric. Save up your pennies and look out for -remnants if you must, but don’t buy cheap materials. The better -materials, too, are an incentive for more careful planning, and as a -result you have a more likeable, wearable dress. - - - CHOOSE THESE SLENDERIZING FABRICS - -What _can_ you wear to create the illusion of slenderness? In woolens, -everything except firm hard finished weaves, or those in big or definite -designs or colors. If silk is to be purchased, consider the closely -woven heavy ones. They may cost a little more, yes, but they wear -longer, and when you give thought and time to making a perfect dress you -are happy to have it last as long as it will. Some big women delight in -chiffon and Georgette and lace dresses, but these fabrics must not be -used unless a substantial foundation dress is worn under them. - -No one needs to use so much care about the foundation of her dress as a -stout woman. It must be wholly non-transparent. It must fit perfectly, -and any dress of lace or sheer material fitted over it must follow the -slip silhouette easily but perfectly. Some designers use two and three -thicknesses as though they were one. They say this softens the line, -weights the fabric, and proves altogether advantageous where grace and -line are desired. - -Materials like faille or bengaline, with a definite crosswise grain, are -smart and becoming and are best when cut and made crosswise. They hang -more limply and, therefore, are more graceful and entirely desirable for -slenderizing. - -Often the mistake is made of choosing a material with wide stripes, due -to the prevalent belief that stripes tend to make a person look slender. -This is generally untrue. The stout woman can wear striped material, but -the stripes, as a rule, must be fine and without definite color or line -when viewed from a short distance. In other words, stripes should be -felt, not seen, except at very close range. Stout women, and, in fact, -most women look better in materials of plain or indistinct design in -harmonizing colors than in those of bold design and of decided color -combinations. - -The heavy silks, striped by means of the weave, and in self color, are -the best for tailored dresses. The heavy crêpe weaves are more -appropriate for draped dresses planned for occasional wear. And the best -quality means the best wear, appearance and general satisfaction. It is -better to have one very good, smart dress and take care of it than two -cheap dresses that you are never quite satisfied with. - -In selecting material for skirts, stout women should choose either plain -fabric or fabric with a narrow or indistinct stripe or small figure and -of a texture that is as soft and pliable as Dame Fashion permits. - -For summer wear, good quality voiles are better than linens, and the -crêpe de Chines are better than the tub silks, because they cling, and -that, after all is a vital consideration. Swiss, organdie, and ratiné, -like taffeta, are too stiff or bulgy to give slenderness, so these -fabrics must be admired always from a safe distance. Allover lace is -permissible if of small design and heavy enough to hang rather than -bulge. - -For quick and easy reference I have made a complete list of fabrics that -are certain to create a line of slenderness—materials that you can -safely wear with the assurance that if properly used they will do much -toward giving you the slender, fashionable lines for which you are -striving. When all is said and done there is really quite a varied range -of fabrics for you after all. - - - MATERIALS YOU CAN WEAR - - - _Wool for Dresses_ - - Charmeen (if not too lustrous) - Challis - Covert Cloth - Flannel - Poiret Twill - Poplin - Serge - Wool crêpe - Wool velour (light weight) - - - _Wool for Coats_ - - Bolivia - Morvilla - Wool Velour (heavy) - Also fabrics listed for dresses which are suitable for light weight - wraps - - - _Silks_ - - Bengaline, Poplin or Faille - Canton crêpe - Canton satin (dull side) - Crêpe de Chine (heavy) - Crêpe Romaine - Crêpe Roshanara (plain and self-striped) - Faille - Georgette (heavy) - - - _Wash Goods_ - - Batiste - Crêpe - Gingham (soft quality) - Poplin - Voile - Handkerchief and plain non-crushable linen, provided the latter is not - stiff - - - HOW TO LOOK SMART AT ALL TIMES - -Never hesitate about navy blue in fine wool or heavy silk. When -beautifully made, either of these may be irresistibly youthful, and if -care is used in selecting rightly balanced designs, such dresses can be -so interestingly varied as never to be monotonous. For instance, a -change of collars is allowable. One day smart turn cuffs may be worn, -and the next day omitted, all giving variety without deviating from the -path of good taste and slender emphasis. And navy blue is _always_ -smart, no matter what the prevailing fashion may be. - -Watch for values. Know the kind of wool you want; avoid stiff satins and -taffetas. Remember when buying or planning dresses that wools that fuzz -up and satins that have a stiffness back of their shininess, taffetas -that stick out, and voiles and Georgettes that are over-sheer are to be -avoided. Fortunately, the better grades of these fabrics eliminate these -tendencies by the very quality of the fabric, and to say that shiny -satin is not possible for the large woman is unnecessary, although there -are some qualities of satins soft enough to be wearable, provided the -sheen is not too decided. But the heavy crêpes are always more desirable -because of their weight and lack of luster. - - - IF YOU MUST PRACTICE ECONOMY - -If I could have but one dress, I should choose soft, brown Canton crêpe -with a satin side to use as trimming. If I could have just two dresses, -one would be blue cloth and the other brown crêpe because both are -becoming. I say they are becoming despite the fact that a prominent -color specialist says that black, blue, and brown are heavy colors and -not the best for large figures. But the use of such a simple accessory -as a scarf of lace or chiffon can lift out of the ordinary a brown crêpe -dress and can in the quality of its beautiful, smart lines, prove doubly -effective. And fine white linen or piqué collars and cuffs can do -wonders to a simple, correct-fitting one-piece dress of blue cloth. - -I know of a certain manufacturer of a very excellent line of dresses for -stouts. Expensive? Certainly, but worth the price, for following the -rules of optical illusion is practically a religion with him. He uses -only navy blue—the darkest navy—in heavy faille, crêpe silks, Poiret -twill, and charmeen. Some are trimmed in white linen or piqué, a few -with net, but the majority are untrimmed, tailored, and pressed “to a -turn,” even when made of silk. Dresses of this type are of a quality -which will permit of one remodeling at least, so that the maximum of -wear may be had from them. When this is possible the material can be -really “worn out” because it was conservative in the first place and did -not lose its style value too rapidly. - -The feeling of satisfaction you get from such a costume, even when you -discard the outfit, is much to be preferred to an attempt to wring the -last drop of usefulness from your clothes by wearing them in the home. -Never do this. Rip up, renovate, and make over, but don’t be shabby at -home. There is too much to lose if you do. The stout woman just _must_ -get into the habit of looking smart at _all_ times. Once acquired, it is -a habit that brings with it a sense of pride, pleasure, and -self-reliance very much worth cultivating. - - - - - CHAPTER VIII - COLORS THAT SLENDERIZE - - -In Chapter II we found that certain uses of lines cause objects to -appear larger or smaller than they really are. This same principle of -optical illusion applies to colors. Whether you realize it or not, the -color of an object always _seems_ to affect its size. - -In general, dark colors make objects appear to be smaller; light colors -make them seem larger. This is often demonstrated by a woman with large -feet. If she dresses those feet in a pair of white shoes they appear to -be much larger than they really are, whereas shod in a pair of well-made -dull black or dark brown pumps or oxfords, they appear much smaller than -they really are. - -Take equal amounts of black crêpe and yellow satin as examples. The -black recedes, while the yellow stands out, fills the eye more -completely, and as a result seems larger. - -Look at blue cornflowers and orange poppies in a field. It takes twice -as many of the blue flowers to attract your attention as it does of the -orange, because the latter make a more definite impression on the eye. - -If you intend to take your rightful place among well-dressed women you -must watch carefully the color of your dress and hold, in the main, to -the quiet colors or shades, such as seal brown, midnight blue, bottle -green, dull black, blackberry purple, the grays, and the deep tans. -These make outline less definite, help your observers to lose sight of -bulk and thereby make your size inconspicuous. Besides, they are always -smarter than the more conspicuous colors. And this isn’t such a -sacrifice, after all, when you realize how few women there are who are -vivacious, alert, agile enough or clear enough of skin to compete with -active color. Bright colors are suitable chiefly to the great outdoors, -for gala decoration, or for trimming—and the latter you may use if you -do it wisely and discreetly. - - - WHAT COLORS NOT TO WEAR - -King’s blue and scarlet, and any colors of their quality, must be “off -your list” completely, for they definitely create the illusion of huge -bulk. Refuse acquaintance with them right now and whatever you do, don’t -yield to their entreaties. You have heard, no doubt, the famous story -about the lecturer, who, when asked by a big woman dressed in red what -color she should wear, said, “Gray, Madam, gray. Nature makes humming -birds red and elephants gray. Follow Nature, Madam.” - -Don’t force people to see you bigger than you are by wearing gaudy -designs or colors. - -Brilliant, hard, cold colors, or what might be fittingly termed -unrelenting or non-retiring colors should be avoided once a woman is -past her first youth; in fact, not every young woman or young girl can -afford to wear such tones, especially when she is a bit too stout, for -the purer the color the more definite it is to the eye and, therefore, -the larger it makes the wearer seem. Many of the colors that are -launched forth each season as the latest thing are so strong that they -add a third to one’s size and rob the wearer of all the natural color of -skin, hair, and eyes, making even a young, vigorous girl appear devoid -of animation and charm. The use of such colors even as trimming is a -mistake commonly made by women lacking in the fresh, natural color of -skin, hair, and eyes. - - - STUDY COLOR “FAMILIES” - -It is well to consider that gray eyes reflect blue or green, and -sometimes brown tints, and that the right shade of blue—usually old -blue—will emphasize the color and brilliancy of blue eyes. It is said -that a girl with hazel eyes and chestnut hair can wear any color -becomingly. Yet one must realize that some colors would naturally be -much more emphatic or subduing than others; therefore, more becoming or -less complimentary. The best rule is to keep to one _family_ of color -shades, as brown, blue, gray, or black. You will find this scheme more -becoming and more economical. Of course, if you wish, you may choose to -use one or two shades lighter of the same color shade, as dark brown and -tan, or perhaps the pleasing combination of midnight blue and gray. Gray -or tan is good with black; white with black only in the very smallest -quantity and then discreetly placed. - -But gray, used for an entire costume, is good only for the very young or -the old. Once the hair is white, gray is much better than black for it -will not emphasize face lines; but a woman of forty, big or little, -unless she has white hair and clear skin should choose navy blue or -black in preference to gray. However, we need not wear either -monotonously. - -Many designers insist that “color tone” evidenced somewhere is essential -for every well-dressed woman, maintaining that if the individual does -not have it herself it must be provided by means of her dress or -complexion, assuming, of course, that it will always be discreetly and -smartly done. If the hair or eyes are colorless, avoid brown and wear -blue, and use definite color—a bit of braid, an ornamental buckle, a -strap on a purse, a hat trimming—something that has a smart color note. - -We look smallest in dull black, but we can look almost as slender in -black that has brightness either in the fabric or the dye, and at the -same time not look so old as with the dull black. For example, observe -the next dear elderly lady you see in dull black. See how it makes every -wrinkle show and gives her a shriveled, meek appearance that is in every -way depressing. We must look young, as well as slender, and, of course, -fashionable too, so we must keep away from any colors that will hamper -us. - - - CHOOSE THESE SUBTLE SHADES - -It has always seemed to me that we women who have the opportunity of -making either a pleasing, indifferent, or offending picture of ourselves -in our dress should realize our opportunity, sense fully that we are in -competition with real artists and work to achieve a degree of perfection -that at least would be pleasing to our very own selves and that could -not offend any who might see us. - -Those valuable laws of optical illusion teach us always to select colors -that have a tendency to recede, that is, those that are indefinite and -difficult to classify. For instance, the moment rose is added to gray, -or yellow to tan, it takes on light and tends to intensify size rather -than to reduce it, while we can add white to gray, or brown to tan with -the opposite result. So often we see someone who has achieved a -beautiful color plan, change it to satisfy her own desire for variety -and in the changing lose all that she has worked to gain. And so I -insist that once you find the color or combination of colors that is -becoming, that is flattering, as to size and complexion, hair and eyes, -hold to it as a valued possession and have your color variety in other -things rather than your dress. - -I have not yet considered white, or rather cream, or old blue, or pastel -green in discussing shades. These many of us can wear. The wearing of -white is a luxurious habit once acquired. The charm of immaculateness -may balance in some minds its tendency to increase size, but if you wish -to look as small as possible, avoid it. Of old blue this is not true. It -can be worn by old and young, is becoming generally, and is almost as -effective as gray in its size reducing propensities. It blends well and -is soft enough not to be distinguished at long range, always a point of -consideration when we are working to look slender. However, neither gray -nor old blue must be worn if the skin is definitely sallow. Pastel green -that has a gray, rather than a yellow cast is often becoming, especially -for summer wear, for in addition to its advantages regarding size, it is -cool looking. - - - A COLOR GUIDE TO AID YOU IN ATTAINING A SLENDERIZING APPEARANCE - - ═══════════════╤═══════════════╤═══════════════╤═══════════════╤═══════════════ - Type of Woman │ Black │ Brown │ Blue │ Green - ───────────────┼───────────────┼───────────────┼───────────────┼─────────────── - _Pink Blonde_ │ │ │ │ - Fair hair; │Very good in │Bronze and warm│Excellent. │Gray-green - blue, gray, │ dull surfaced│ tans, very │ Greenish and │ good; also - or brown │ fabrics. │ good. Dark │ navy blue │ soft - eyes; white │ │ tones │ very good; │ blue-green - skin, │ │ permissible. │ also medium │ both medium - moderate │ │ │ tones to │ and dark. - color. │ │ │ repeat color │ - │ │ │ of blue eyes.│ - ───────────────┼───────────────┼───────────────┼───────────────┼─────────────── - _Pale Blonde_ │ │ │ │ - Fair hair; │May be worn │Dark red-brown │Excellent in │Very pale green - blue, gray, │ with white or│ permissible. │ dark shades │ good. - or brown │ cream collar.│ │ and old blue.│ - eyes; white │ │ │ │ - skin with │ │ │ │ - little or no │ │ │ │ - color. │ │ │ │ - ───────────────┼───────────────┼───────────────┼───────────────┼─────────────── - _Titian Blonde_│ │ │ │ - Fair hair, │Excellent. │Dark tones and │Dark tones │Almond and - bordering on │ │ bronze good │ excellent; or│ reseda good; - red; blue, │ │ if eyes are │ medium blue │ avoid bright - brown, or │ │ brown. │ if eyes are │ tones. - gray eyes; │ │ │ blue. │ - fair skin, │ │ │ │ - moderate │ │ │ │ - color. │ │ │ │ - ───────────────┼───────────────┼───────────────┼───────────────┼─────────────── - _Medium Blonde_│ │ │ │ - Light brown │Best relieved │Bronze and │Very good in │Dark green and - hair; blue, │ by cream │ medium tan │ dark and │ reseda good. - brown, or │ color. │ good. │ medium tones.│ - gray eyes; │ │ │ │ - medium │ │ │ │ - complexion. │ │ │ │ - ───────────────┼───────────────┼───────────────┼───────────────┼─────────────── - _Olive Blonde_ │ │ │ │ - Light brown │Good, if used │Very dark tones│Dark tones │Bottle-green - hair; brown, │ with │ may be worn. │ excellent. │ good. - blue, or gray│ contrasting │ │ │ - eyes; skin │ color. │ │ │ - inclined to │ │ │ │ - sallowness. │ │ │ │ - ───────────────┼───────────────┼───────────────┼───────────────┼─────────────── - _Clear │ │ │ │ - Brunette_ │ │ │ │ - Dark or medium │Excellent, │Very good for │Dark tones good│Dark green - brown hair; │ especially │ brown-eyed │ with bright │ good. - dark blue, │ with white. │ type; tan │ trimming. │ Blue-green - gray, or │ │ good. │ Medium blue │ for blue-eyed - brown eyes; │ │ │ fair. │ type; - fair, clear │ │ │ │ bronze-green - skin, with │ │ │ │ for brown - some color. │ │ │ │ eyes. - ───────────────┼───────────────┼───────────────┼───────────────┼─────────────── - _Pale Brunette_│ │ │ │ - Medium, dark │Do not use │Excellent with │Dark tones very│Dark green - brown or │ except with │ brown eyes; │ good; │ excellent. - black hair; │ bright color │ warm tan │ green-blues │ Blue-green - brown, gray, │ for trimming.│ good. │ good. │ for blue eyes - or dark blue │ │ │ │ and - eyes; pale │ │ │ │ bronze-green - skin. │ │ │ │ for brown - │ │ │ │ eyes. - ───────────────┼───────────────┼───────────────┼───────────────┼─────────────── - _Colorful │ │ │ │ - Brunette_ │ │ │ │ - Medium brown or│Very good. │Most browns │Dark blue │Very good in - dark hair; │ │ excellent for│ excellent; │ dark tones. - blue, brown, │ │ brown-eyed │ green-blue │ Bronze-green - or gray eyes;│ │ type. │ good. │ excellent - medium skin, │ │ │ │ with brown - high color. │ │ │ │ eyes. - ───────────────┼───────────────┼───────────────┼───────────────┼─────────────── - _Auburn │ │ │ │ - Brunette_ │ │ │ │ - Brown hair, │Transparent │All pure browns│Navy blue and │Bronze-green - tinged with │ black good. │ that blend │ green-blues │ excellent; - red; brown, │ │ with hair and│ very good. │ also, medium - blue or gray │ │ eyes good. │ │ reseda. - eyes; medium │ │ │ │ - skin. │ │ │ │ - ───────────────┼───────────────┼───────────────┼───────────────┼─────────────── - _Olive │ │ │ │ - Brunette_ │ │ │ │ - Dark brown or │Permissible if │Mahogany and │Good in darkest│Bronze-green - black hair; │ worn with │ deepest │ tones. │ permissible. - brown or │ cream collar.│ browns │ │ - black eyes; │ │ moderately │ │ - olive skin, │ │ good. │ │ - some color. │ │ │ │ - │ │ │ │ - ───────────────┼───────────────┼───────────────┼───────────────┼─────────────── - _Gray and Gray_│ │ │ │ - Gray hair; │Permissible if │ │Good in dark │Permissible in - brown, gray, │ worn with │ │ and medium │ darkest - or blue eyes;│ cream collar.│ │ tones. Delft │ tones. - medium skin. │ │ │ blue good for│ - │ │ │ blue eyes. │ - ───────────────┼───────────────┼───────────────┼───────────────┼─────────────── - _Brown and │ │ │ │ - Gray_ │ │ │ │ - Grayish, brown │Permissible │Seal and │Dull blue, very│Dark tones - hair; brown, │ with cream │ chestnut │ good; │ moderately - blue, or gray│ collar. │ good. Avoid │ brighter │ good. Avoid - eyes; medium │ │ all tans. │ blues good │ gray-green. - skin. │ │ │ for trimming.│ - ═══════════════╧═══════════════╧═══════════════╧═══════════════╧═══════════════ - - ═══════════════╤═══════════════╤═══════════════╤═══════════════ - Type of Woman │ Gray │ Purple │ Pink - ───────────────┼───────────────┼───────────────┼─────────────── - _Pink Blonde_ │ │ │ - Fair hair; │Dark, blue-gray│Orchid fair; │Flesh and dull - blue, gray, │ very good. │ also, │ old rose - or brown │ │ blue-violet │ permissible. - eyes; white │ │ in sheer soft│ - skin, │ │ fabrics. Red │ - moderate │ │ purple may be│ - color. │ │ used in small│ - │ │ quantities. │ - ───────────────┼───────────────┼───────────────┼─────────────── - _Pale Blonde_ │ │ │ - Fair hair; │Dark, blue-gray│Orchid good; │Flesh, good; - blue, gray, │ good. │ fuchsia, good│ also dull old - or brown │ │ for trimming.│ rose. - eyes; white │ │ │ - skin with │ │ │ - little or no │ │ │ - color. │ │ │ - ───────────────┼───────────────┼───────────────┼─────────────── - _Titian Blonde_│ │ │ - Fair hair, │Stone-gray and │Very dull │Pastel tones in - bordering on │ taupe good. │ orchid good. │ sheer - red; blue, │ Blue-gray │ │ material, - brown, or │ good. │ │ good. - gray eyes; │ │ │ - fair skin, │ │ │ - moderate │ │ │ - color. │ │ │ - ───────────────┼───────────────┼───────────────┼─────────────── - _Medium Blonde_│ │ │ - Light brown │Silver-gray │Moderately good│Flesh and peach - hair; blue, │ permissible. │ for trimming │ may be worn. - brown, or │ │ if skin is │ - gray eyes; │ │ clear. │ - medium │ │ │ - complexion. │ │ │ - ───────────────┼───────────────┼───────────────┼─────────────── - _Olive Blonde_ │ │ │ - Light brown │Very dark taupe│Pinkish tones │Creamy flesh - hair; brown, │ good. │ in sheer │ and peach - blue, or gray│ │ material │ color fair. - eyes; skin │ │ permissible. │ - inclined to │ │ │ - sallowness. │ │ │ - ───────────────┼───────────────┼───────────────┼─────────────── - _Clear │ │ │ - Brunette_ │ │ │ - Dark or medium │Permissible for│Orchid good; │Rose - brown hair; │ a dress that │ fuchsia may │ permissible - dark blue, │ is smartly │ be used in │ as trimming. - gray, or │ designed and │ small │ - brown eyes; │ trimmed. │ quantities. │ - fair, clear │ │ │ - skin, with │ │ │ - some color. │ │ │ - ───────────────┼───────────────┼───────────────┼─────────────── - _Pale Brunette_│ │ │ - Medium, dark │Warm taupe │Dull orchid; │Flesh, dull - brown or │ permissible. │ also, pink │ rose and - black hair; │ │ tones of │ peach good. - brown, gray, │ │ violet. │ - or dark blue │ │ │ - eyes; pale │ │ │ - skin. │ │ │ - │ │ │ - ───────────────┼───────────────┼───────────────┼─────────────── - _Colorful │ │ │ - Brunette_ │ │ │ - Medium brown or│Blue-gray and │Avoid all │ - dark hair; │ taupe good. │ except bluish│ - blue, brown, │ │ hues. │ - or gray eyes;│ │ │ - medium skin, │ │ │ - high color. │ │ │ - ───────────────┼───────────────┼───────────────┼─────────────── - _Auburn │ │ │ - Brunette_ │ │ │ - Brown hair, │Good, if skin │Plum color and │Flesh and pale - tinged with │ is clear. │ palest │ pink good. - red; brown, │ │ lavender │ - blue or gray │ │ permissible. │ - eyes; medium │ │ │ - skin. │ │ │ - ───────────────┼───────────────┼───────────────┼─────────────── - _Olive │ │ │ - Brunette_ │ │ │ - Dark brown or │Taupe may be │Pink lavender │Dull pink and - black hair; │ worn in rare │ in sheer │ apricot tones - brown or │ cases. │ fabric or │ good. - black eyes; │ │ dahlia in │ - olive skin, │ │ small │ - some color. │ │ quantities │ - │ │ fair. │ - ───────────────┼───────────────┼───────────────┼─────────────── - _Gray and Gray_│ │ │ - Gray hair; │Silver-gray │Soft │Flesh and old - brown, gray, │ good. │ pink-lavender│ rose very - or blue eyes;│ │ good; also │ good. - medium skin. │ │ dark tones. │ - │ │ │ - ───────────────┼───────────────┼───────────────┼─────────────── - _Brown and │ │ │ - Gray_ │ │ │ - Grayish, brown │Dark grays │Avoid unless │Creamy-flesh - hair; brown, │ brightened by│ skin is very │ good. Avoid - blue, or gray│ trimming, │ clear and │ rose hues. - eyes; medium │ permissible. │ hair almost │ - skin. │ │ white. │ - ═══════════════╧═══════════════╧═══════════════╧═══════════════ - -All rules may be individually varied and should be for distinctive -effects, so to know the rule of color is to respect it and adeptly apply -it to express yourself beautifully and harmoniously. Play with colors as -you would with a fan. Remember that usually every woman _can_ look -better than she does. It is the age of good-looking women and the right -shade or tone of color has a very great deal to do with the right -emphasis of individual attractiveness. - -Color has so much to do with the final appearance of any costume, that -you must find _your_ particular color pace. Remember that if you are -stout you cannot stray from the less colorful byways to the brilliant -main road trodden by your slim sisters. Never lose sight of the fact -that true artistry may be expressed in the subtle shades to a _much -greater_ degree than by the use of brilliant colors. As civilization -advances, it is gradually drawing away from pure color. You will find -that practically all of the fabrics shown in the shops are variations of -the foundation or primary colors. Why not carry this to its farthest -point, emphasizing your appreciation of the subtlety of the “between” -shades which can do so much toward making you look smart and slender? - -In the selection of shades for becomingness, your size is the first -consideration; your skin the second. Consider carefully both the color -and the texture of your skin, and work to have the shades of your -dresses enhance, harmonize, or subdue, according to the need or -opportunity. The color of your hair and eyes comes third in color -consideration, while your age comes fourth. - -In making use of the table I have given you, locate your type in the -first column. If you are a blonde read descriptions of all the blonde -types and decide to which you belong. If you are a brunette, classify -yourself under this heading. Do not feel hampered by the colors -allowable for your particular type, because it very often happens that a -_variation_ of a shade you like will make it becoming to _you_ even -though it would be unsuited to another individual whose description -would correspond with yours. - - - RULES TO REMEMBER - -Large figures require subdued colors. - -The _dominant_ color in your costume must harmonize with the color and -the texture of your skin. - -A contrasting or emphasizing color may be used to enhance the coloring -of your eyes and hair. - -Because it is not entirely necessary or desirable to exclude the -lighter, brighter shades from the wardrobe, a few of these have been -listed in the accompanying table. As a general thing, you will look best -in dark colors; but in the warm weather, and for home wear, light colors -are permissible and suitable, too. If the type requires the use of such -shades in the evening, gowns made from them may be worn becomingly, -provided they are properly chosen as to material, design, and trimming. - -With the advent of each season’s _new_ colors, search carefully for -_your_ colors, the ones that you know are becoming, bearing in mind all -the while that tones, hues, or tints (light colors) emphasize, and that -shades (dark colors) alone subdue, and then remember that both fabric -and design definitely affect the color; so decide on all three -simultaneously and thereby be wholly safe. - -The extent of your attractiveness rests with you and don’t forget ever -how very much a right color can help you. Haunt the shops for the -beautiful, the flattering, the becoming thing. Don’t be satisfied to buy -green, blue, or gray simply because it’s the season’s color—find the -tone or shade of that color that is lovely for you—then you can be -fashionably dressed and becomingly so. - - - - - CHAPTER IX - THE LINE OF YOUTH AND GRACE - - -There is a distinct difference between the appropriate clothes for the -young stout girl and those for the elderly stout woman. The first must -work to emphasize trim smartness; the second simplicity and -becomingness. Not so much difference in the two, you will say, but think -carefully about it and you will realize that there _is_ a difference. -The whole idea of dress is different at 20, let us say, than it is at -50. If you are 20, you may wear 20–year clothes, but if you are 50, you -may wear 40–year clothes. And you can truly look 40 if you learn to -blend the lines suited to youth and maturity and to do it skilfully. - - - WHEN TAILORED CLOTHES ARE SMART - -Work to achieve one of two types—tailored smartness or supple dignity. -Neither need emphasize age and both can reduce the appearance of size. -If you are best as a tailored girl, be one morning and evening. Remember -that the soft wools, charmeen and poiret, are best, and often smart in -stripe effect. One-piece wool frocks are a boon to slenderness and every -season brings smart, simple straight lines especially adaptable to soft, -clinging materials. Watch the length of your suit coat if you are young. -Long Eton effects are often good, and don’t forget the beauty and long -line possibilities in the very long suit coat. - -Tend a little to the vampish black in the evenings, if you wish, but -tailor the lines so that they are severely smart. Of course, if you are -18 you may not want to use black and look vampish, but you can, as far -as size goes, wear cream, sky or old blue, or watery green effectively. -In fact, any of these colors are wearable if you choose supple fabrics -and wear them unadorned. If you choose boat necks, be sure to wear a -scarf or necklace to break the line. - -But here we are going to talk about the girl who is young, good-looking, -and stout. You needn’t say that you are not good-looking. It’s your own -fault if you aren’t, that’s certain. Read the women’s magazines. Every -month they carry excellent articles on the care of the face, hands, hair -and body, and if you are delightfully clean and follow even the simplest -rules, you can be good to look at even if you weigh more than you would -like to. - -[Illustration: - - Straight lines can be artistically used in lingerie or negligee, and - such garments need not be monotonous or unattractive. Beautiful - simplicity or distinctive smartness should be your aim with such - garments. - - At the left is a night dress with pleasing length lines. - - Ribbon trimmings or contrasting bands are desirable in finishing - dressing gowns, such as shown in the center above, especially if the - color harmonizes with the predominating color of the fabric. - - Soft crêpe, as at the right, in subdued color, is becoming and - inexpensive. Effective length line trimmings can be added by - decorative stitches or bindings. -] - -Fortunately, the flesh on a young stout girl is usually evenly -distributed, thus making the chief consideration in dress one of -choosing line and fabric that are becoming to youth. It is very easy for -a young stout to be well corseted and that is an important essential, -for correct corseting will go a long way toward avoiding additional fat. - - - YOUTHFUL STYLES YOU CAN WEAR - -If you are young, don’t be indifferent about _any_ phase of your dress, -and don’t ever show any humiliation because of it. Women who are -continually conscious of their size seem to look fatter than those who -plan to make the least of it and to enjoy it. Emerson says, “Never go to -a man to tell him that you can’t pay a debt when you haven’t any money. -Your whole attitude will cause him to lose confidence in you.” - -So it is with stout women. If you yourself tell about it, pity yourself, -evidence it by word as well as by your appearance, then you deserve to -be classed as “that fat Brown girl” instead of “the good-looking Brown -girl.” - -If you prefer short dresses, and short skirts are the vogue, be -extremely careful about your feet. Have them perfectly shod. Wear hose -of a neutral or dress-matching shade so that the height will not be -broken. Severe lines for modish, clear-skinned girls with neat coiffures -are often very effective and they have the additional advantage of -youthfulness which older women must strive for. - -Try to learn about your dress from study and observation rather than -from experience. The latter is discouraging and expensive. Visit shops -that specialize in tailored things. Study fashion pictures for line, not -color or trimming, for you know you can vary these to suit your special -slenderizing emphasis. Ice cream, like candy, is tempting to young -folks, as are bright colors and new fads. So eat sparingly, but of the -best, choose the choicest of the fads, the smartest of the new colors. -Invariably they will be in good taste and created of a color and -material or design that you can with discretion adopt. - -[Illustration: - - Youthfulness is entirely possible with slenderizing lines. These - illustrations, for instance, are simple to the extreme, yet allow of - individuality and becomingness. The plaited frill held in place by a - definite length band is allowable. - - The Tuxedo panels of the black dress are designed as part of the - collar, in scarf effect, thus giving a youthful line rather than a - heavy, collar trim and one that can be worn by all but full bust - figures. -] - - - YOUTHFUL STYLES TO AVOID - -Don’t be tempted to buy a bright colored cheviot suit when a navy -charmeen or a smart black and white stripe would be much more -distinctive and slenderizing. - -Don’t let any one make you look old. Avoid bulk in your clothes, such as -heavy skirts, bulging ornaments, ruffles, frills and flounces. Learn to -delight in slenderizing. Enjoy it. It can become as much a hobby as can -art in pictures or music. Remember you have the responsibility of your -own loveliness. If you are not pleasing to see morning, noon and night, -you can blame nary a soul but yourself. Wholesomeness is beautiful -anywhere, any time, so work to achieve perfection by way of simplicity. -Your responsibility will be less and the result more sure. - -Wear trim, one-piece dresses with narrow belts and long, smart collars. -Work yourself into the new fads _wisely_. Enjoy the new in dress but do -it discreetly so that it blends perfectly with size, type and -inclinations. - -[Illustration: - - Youthfulness demands simplicity. Short coats overcome the appearance - of heaviness over the hips and are at the same time youthful. In the - suit above the long revers, the vertical pockets, the broken cuff - line, and the lap-front skirt, all aid in the “magic” of - slenderness. - - Simplicity and smartness in evening frocks is as essential as those - for day-time wear. - - The first dress is Georgette with wee pin tucks, the bodice of - brocade, thus giving length in line and concealed brilliancy - desirable for evening wear. - - At the right is metallic cloth in inconspicuous design, aided in line - by the long velvet ribbon trim. The long, link necklace also gives - length and serves to break the line of the square neck which might - otherwise be unbecoming. -] - -Don’t wear feathers; they are old and “filling.” Don’t over dress. -Remember the fewer clothes the better—just enough to be respectable! -Never bundle yourself up in clothes—wear them for comfort, beauty, and -becomingness. - -Put a double front in your slips and don’t wear petticoats. They pull -you in at the wrong place. Let your slip also suffice for a corset -cover. Use perspiration preventatives rather than dress shields, and -don’t put linings in your dresses. Eliminate even seams that are bulky. - -Avoid buttons. They are allowable for little folks and older folks, but -are too matter of fact for smart simplicity. If you wear knickers be -sure that they fit correctly; don’t let them extend too high at the -waist or in wide-cuff effect below the knee. A band just below the knee -is less heavy looking. - - - TRIMNESS IS YOUR GOAL - -Watch out if you wear sweaters. A football type, never! Get soft, trim -coat sweaters and button the last two buttons, or choose Tuxedos, which -are best of all. White heavy skirts and bright red heavy sports sweaters -can be your “Waterloo” if you are not careful. You can, however, wear a -neat, white skirt that is soft, not too full, and just right in length, -with a dull, soft blue-green or tan light-weight sweater and look very, -very smart, especially if your shoes and stockings are all white—not cut -up with black and white or sandal-like in shape. And then a perky felt -or milan hat, trimmed at one side, can look a lot better for sports wear -than a drooping wide brim which seems so “comfy” for big folk. Remember, -trimness is your goal—“perfection in simplicity”—so don’t stop short of -it in any detail. - -[Illustration: - - In choosing clothes for young girls who are large for their age, the - same rules of optical illusion apply as for adults. For instance, in - the above picture the length lines are deftly used to emphasize the - line of youth. -] - -Even in negligee and in night clothes consider every article, because -habit is as big a factor as fat and quite as difficult to reckon with. -In making your night dresses, you can panel them by means of tucks and -make V yokes instead of round, or broad square ones. You may also have -them sleeveless and tailored, all of which will help in making for -slenderness. Soft crêpe night dresses with a woven stripe in self color -are attractive. Stiff materials will never do. Materials that are too -sheer show the body outline too much, and if your material is “bumpy” of -course it, too, is taboo. - -Use short shoulders in your negligees and have definite length lines. If -you must have pockets, point them down so that they won’t square the -figure across the hips. And choose soft, easy colors that are becoming. -Changeable taffetas are to be shunned like the measles. Soft crêpes and -small figured silks and stripes are all suitable. In this campaign, even -the bedroom slippers should be of inconspicuous color so as not to take -from the height. - -Work for trimness, neatness, preciseness at all times. They all go with -a tailored effect and must be observed to the letter if you wish to -achieve the illusion of slenderness in dress. - - - - - CHAPTER X - THE SMART LINE OF DIGNITY - - -There comes a time with all of us when we have to admit that we are no -longer youthful, but we never need admit nor should we ever feel that we -are no longer young. Young hearts, young eyes, and young interests can -always keep within us the fountain of youth, and that is our right in -life—to enjoy to the last day our heritage, which means interest in -living, expressing beauty, tenderness, and true womanliness. - -When you have reached this stage of development you should be just as -proud and happy about it as when you made your debut thirty years ago. -Your vision can behold much more now than it could then, for you can now -look both forward and backward, and then you could only look forward. - -A wise educator says that every woman should have three careers: The -first, of youth and education; the second, of marriage and motherhood; -the third, of activity in business, or in advanced motherhood, or in -social or civic life. So it is for the third career that I want to write -these pages—to you who have a real incentive to be attractive yet have a -definite problem of too much weight. - - - DRESS SMARTLY, NO MATTER HOW OLD YOU ARE - -There is nothing more discouraging than to see a woman become careless -of her appearance as she grows older. Indeed, nowadays no woman with -proper self-respect would be guilty of such a crime, for although -dignity and womanliness are much to be admired in the mature woman, -there is certainly no excuse for a woman to allow herself to look old or -dowdy, no matter what her age may be. On the contrary, the older you -grow, the more urgent is your need for clothes that will make you look -smart and attractive, especially if you are even one pound overweight. -Let your watchword be to dress more smartly each year and to pay more -attention with each succeeding season to the demands of fashion. Dress -to suit your circumstances and needs, of course, but never forget to -dress appropriately to the occasion as well as to your figure and always -with a keen appreciation of youth. - -[Illustration: - - When dignity is the aim, rich lace is often desirable. The dress above - has a circular flare apron in the front only, and a lengthwise panel - in the back, the lace band giving the desired length line in the - front. Some older women prefer a short sleeve. A lace sleeve cap is - shown for evening wear. Full length, close-fitting sleeves are - required for this model for day-time wear. - - In considering these designs, take up a current fashion book, study - closely the effective length lines, remembering that obtrusive - breaks in the line are to be avoided. The neckline of the above - dress is a good example of correctness, also the waistline - decoration. - - The side line of the suit coat connecting, as it does, with the - pocket, is another example of subtle harmonious line giving the - desired length. -] - -Don’t allow salespeople and the family to squelch your desire to look -attractive. I remember a dear mother woman of 55, round and happy -looking, who made her husband’s heart go “pit-pat” as much as it had 30 -or 40 years before. She went into a millinery shop one day and was shown -to the case of bonnets for old ladies. Tears came—sincere, tragic tears. -She turned to her daughter and said with a definiteness never to be -forgotten, “If you ever let anybody put one of those hats on me I will -leave home.” And the daughter knew that she meant what she said. - -Such a woman is a delight to dress. She is interested, has a -responsibility, and wants to look 45 instead of 55, and so every -available aid should be at hand to help in so worthy a cause. - -For her, soft silk dresses are best. They are more nearly in harmony -with kindly good humor than stiff firm fabrics. Blue that is cool and -soft is better for such a type than purple or lavender. Lovely grays are -better than black. Navy blue is best of all. - -Every woman should study her temperament and mood along with her type of -figure and work to dress both as perfectly as possible, remembering that -a little frosting is good on any cake, and even the plainest bread is -improved with butter and jam. Don’t be afraid of the smart hat, the new -trimming, or a trim new collar that is fashionable. It may help somebody -to fall in love with you all over again. Keep on the alert for whatever -will add youthful charm, womanly dignity, and lovely smartness, as well -as slenderness. - -All the precautions, suggestions, and instructions throughout this book -are even more important for you than they are for younger women. Here -are a few, however, that apply _especially_ to you. - - - IF YOU ARE SHORT AND STOUT - -If you are short and stout, select lines definitely lengthwise to aid -height. Lines that extend the full length of the figure are best. Neck -lines, panels, etc., will improve the general effect if they are made to -terminate in a point. Crosswise lines and trimmings on skirts are not -for the short woman, as they emphasize breadth and tend to shorten the -figure. It is particularly important that you give careful study to -those optical illusions which seem to add height and detract width. You -cannot be too particular about applying these rules to every garment -that you either make or buy. - -[Illustration: - - House or home dresses are as important as those for dress up wear. - - Plain foundation patterns lend themselves to development of good taste - dresses such as are shown here. - - A—Fine stripes of smart coloring are often effective, especially when - definitely tailored. - - B—Broken yoke and belt lines are frequently used in sports clothes, - are youthful, and if right in proportions can be as effective as - definitely straight lines. - - C—A shirtwaist dress often achieves the slender line by the - continuance of the double line panel in both blouse and skirt. Note - that the sleeve is slashed to break the width. - - D—Small figured all-over design materials are allowable if both design - and coloring are inconspicuous. Note here that the sleeve is short, - an appropriate length with an untrimmed skirt. -] - - - FOR THE TALL STOUT FIGURE - -The tall mature stout figure should watch her lines so that they will -not overemphasize height. Draped, as well as tunic skirts may be used to -advantage. The possibilities of applying trimming features to garments -for the tall woman are more allowable than for the short woman, but -great care must be used to avoid an upholstered effect that detracts -from her essential dignity. - -If the length of the waist is short in proportion to the skirt length, -design and color combinations that do not tend to accentuate this -irregularity should be selected. A very common mistake in such cases is -to wear a skirt with a high waist line or a dark belt with a white or a -light-colored blouse. A short-waisted woman should choose skirts with -regulation waist lines or long-waisted blouse effects. - - - SKIRTS FOR DIGNITY - -Skirts, whether full or narrow, that are cut as long as possible without -attracting undue attention to their length or causing discomfort, long -tunic skirts, and plain, straight-plaited skirts are desirable for the -stout woman. She should consistently avoid tiered skirts or skirts with -ruffles, shirring, and excessive or crosswise trimming. - -[Illustration: - - Straight lines in skirts are always advantageous, especially so if the - figure is short below the waist. These suggestions are given as aids - to variety. -] - -The older you are, the more generous you can be in skirt length and -fullness, though in no case should your skirts be noticeably far from -fashion’s dictates. - - - SLEEVES FOR GRACE - -The sleeves for the mature stout should be plain and soft in appearance -and have a tendency to cling to the arm. If the forearm is large and -heavy, a sleeve that comes just below the elbow or to a point 3 or 4 -inches above the wrist is suitable. Long, bulky sleeves, however, should -never be worn on a heavy forearm. If long sleeves are worn, they should -be made to fit very close below the elbow, and should be finished at the -lower edge with a fold of net or lace or fabric or with a moderately -small, light-weight, flaring cuff. Such finishes will make the hand -appear smaller when a glove is not worn. - -The mature stout woman should never expose her shoulders and upper arms -when in evening attire; rather, she should cover the flesh with filmy -lace or chiffon, or she should wear a scarf of tulle, preferably of -black or a silent tone, across the shoulders and the arms. White will -make the arms appear larger than they really are, and black will give -the opposite effect. - -[Illustration: - - When dignity is the aim, one must always seek to give interest in - line. Youth can manage severity in line and can wear satisfactorily - garments that are untrimmed, but with advancing years, there comes a - greater necessity for variety in detail. - - A coat, for instance, might be boyishly plain for a 20–year-old girl - weighing 160, but for the same weight at 50 one needs to slip in a - friendly line or cozy bit of fur to modify the severely tailored. - - The examples shown on the opposite page are worthy of close study, and - a smart Fashion Book at your right hand will allow you a modish use - of these correct lines in any current fashion. -] - - - TRIMMINGS TO AVOID - -In choosing the trimmings for your garments, remember that buttons or -trimmings placed in flat patch effect, as in squares, triangles, or -diamonds, will tend to add thickness and destroy dignity, while if they -are arranged in single rows or broken lines they will add dignity and at -the same time give the appearance of length. Harmonizing, rather than -contrasting colors should be selected for trimmings, so that they will -not stand out boldly from the garment. Never should the collar, the -belt, or the finish at the bottom of the skirt be permitted to attract -the eye before the garment itself does, but they should be arranged so -as to be as inconspicuous as possible. Tucks, plaits, and seams should -be made to extend up and down the garment instead of around it. Nowhere -else can the laws of optical illusion be so effectively applied, with -such noticeable results, as in the matter of trimmings. A single -ornament, wrongly placed, can mar an entire costume for the woman who -wants to achieve slenderness. - - - HOW THE MATURE WOMAN CAN APPEAR SMART, ATTRACTIVE, AND CHARMING - -The mature woman—the woman past her first youth—owes it to herself, her -family, and the world at large to be as becomingly and appropriately -dressed as intelligent effort, skill, and available money will permit. -On her rests the responsibility, example, standard of right living, and -the function of leadership. Also it is her duty not only to attract and -please, but to hold the admiration of those who believe in her, and by -her charming appearance, poise, and dignity to make her particular -sphere, no matter how small or seemingly unimportant it may be, radiate -joy, peace, and progress. - -Nearly everybody agrees with the adage that “a woman is as old as she -looks and a man as old as he feels;” at least, there is no doubt that -the mature woman has a big advantage over the mature man. By her dress, -the woman of today can prolong her youth and at the same time she can -take on that poise and dignity which the accumulation of years and -experience generously bestows upon her, provided, of course, she accepts -these years and experiences in the right spirit. Deep down in every -normal woman lies the girl nature, and becoming, appropriate clothes -make possible the return of the girl spirit in a dignified way that -imparts real charm. - -[Illustration: - - Would you believe that the pattern of these two dresses is exactly the - same? This illustrates how you can vary a dress once you find the - foundation lines that are becoming to you. One pattern can suffice - for both a tailored and an afternoon dress, as you see both effects - are pleasing in their slenderness. -] - -There is no definite or set period when certain styles of clothes are to -be worn by women of different ages. The age limit for certain styles is -within the control of every woman herself, and, naturally, the woman who -has the most intelligent knowledge and appreciation of herself and her -clothes will generally be the best dressed and will convey that -undeniable pleasure to observers—a well-dressed and dignified -appearance. - -Frequently, a woman does not become noticeably stout until she has -reached the neighborhood of 45 or 46 years. This time of life is usually -the most trying for any woman, for when youth has taken flight it makes -necessary three things if a woman wishes to continue to appear -attractive and pleasing: dignity, careful grooming, and correct -selection of color, lines, and fabric. Correct corseting is, of course, -absolutely essential in order that the entire costume may be in perfect -harmony with her individuality and that she may have the appearance of -absolute comfort and ease. - -But there is no reason why a woman of fifty cannot look smartly dressed, -and so she should. It is not only desirable but necessary for her to -keep active and progressive both in mind and in body, and as women’s -clubs and good reading matter help to develop her intelligence in other -respects, so they are aiming also to help her in selecting the best -materials, colors, and styles for her clothes. - -Fashion folks need money from all of us to keep their lovely shops -going, so hunt around, find the shop that has things becoming to you, -then buy or copy them as your purse dictates, and study fashion -magazines and shop windows as you would a speller at a “spelling bee.” -Dress up—be gracious and charming! Everybody will love you for doing it -and you will look ten years younger as a result. - - - - - CHAPTER XI - HATS AND WRAPS THAT SLENDERIZE - - -Don’t wear your hats too small. No big woman should look like a pyramid. -On the other hand, don’t ever allow your hat brims, when you want to -look alluring, to extend beyond your shoulders. Just inside is wide -enough and more becoming. Medium sized hats are best at all times. Pokes -are taboo if your head sets close to your shoulders. Let the facings of -your hats be of a becoming color. This is an ideal way of emphasizing -the color of your eyes. But don’t let the facing show prominently, for -if you do your height will seem to terminate with the bottom of your hat -and you will lose in appearance in consequence. - -The evolution in woman’s habits of living has made the enormous hat -perched on top of a high pompadour an utter impossibility, and no woman -needs to move farther away from such a fad than the big woman. Her hat -must fit her perfectly, in head size and in width and height, and at the -same time must be comfortable, smart, and becoming. It is essential that -the hat be worn correctly, “rightly set,” for it is easy to lose dignity -if the hat appears to be hung on a corner of the head instead of being -placed so as to become, apparently, a part of the head. - - - HAT SHAPES TO WEAR AND NOT TO WEAR - -In the category of shapes we have the flat sailor, with brim from 1 inch -to 5 inches wide; the drooping or mushroom brim; the even roll brim; the -irregular roll; the coronet brim; and the toque. The round plump face -should never be framed with an even rolling brim which suggests the moon -with a ring around it, but should have its roundness lengthened by an -angular curve or broken line that will give height at the side, or a -diadem coronet effect, giving height in the direct front. The crown -should be at least as broad as the cheeks and continue that width, or -spread a little wider at the top, but never assume a cone shape. - -The plump woman lives through a period when a sailor line is most -becoming of all. Then comes a time, and she, herself, cannot tell why, -when the sailor proves a disappointment. It is then that she turns to a -larger hat or to a turban type, either of which can prove just as -unflattering as the sailor if it is too large or too small. You need to -watch both size and shape for the big hat can make you look top heavy, -the little hat old. - -[Illustration: - - These two examples show how even a hat with drooping brim, if not too - wide, can be worn by the stout person if trimming is adeptly used to - direct the vision upward and lend an illusion of height. -] - -A short, stout woman should avoid a squatty mushroom hat, because it -exaggerates her lack of height, and adds years in appearance. She should -choose a narrow brim and high crown, calculated to add length of line -and absorb some of the rotundity of her features. The woman who is -proportionately larger than the average will find the drooping mushroom -with rather broad sides and a medium size crown that conforms to the -shape of the head, trimmed in an even compact arrangement, decidedly -becoming. - -The stout woman of medium height can wear this same type of hat with -slight alteration on the brim line; that is, instead of the sides -drooping down midway from the head-size on both sides, the brim assumes -a slight upward curve which continues around the back while the crown -may be from one to two inches taller than ordinarily. This depends upon -the prevailing fashion. - -If the chin recedes, never wear a hat that flares up and forward from -the brow, for it would emphasize the line of the chin. A hat with a tiny -brim and a high, straight crown seems the best style. Accordingly, the -large woman with a protruding chin requires a counteracting forward -effect in the brim; therefore, she will find a small hat, with an abrupt -upward turning brim, in the style generally known as the Russian effect, -smart and becoming. - -[Illustration: - - Here trimming is used on two entirely different types of hats to give - in each case added height to the figure and help in attaining a - slenderizing appearance. - - Left—Hats with medium brims and high trimming are often becoming, - especially if wide enough to avoid the pyramid effect. - - Right—High built trimming and delicate veils are advantageous where a - double chin is the handicap. -] - -The double chin is another problem that the large woman has found -difficult to solve. For this type, the rather high hat, or a top-heavy -turban, if it conforms to the vogue and is in good taste, is desirable. -A scarf or veil craftily arranged around the neck will do much to hide -this unbecoming roll of flesh. Nowhere is a thorough knowledge of the -laws of optical illusion more necessary than in your selection of hats. -Cheap hats are a false economy, especially for the large woman. Do not, -therefore, spend your good money on any hat unless you are sure it will -add the desired lines to your appearance. This, as you must realize by -this time, is really quite easy to do. - - - HAT COLORS TO WEAR AND NOT TO WEAR - -To avoid harsh and trying colors in hats should be the principal aim of -the big woman, for they tend to emphasize the bigness we are trying to -make less conspicuous. The staples, dark navy and black, are always -equally suitable for blondes and brunettes, and carry smartness for -street wear. Grays, too, provided the skin permits them, are in good -taste. Silver-gray, platinum or zinc are good choices for the large -woman. While you need not be overwhelmingly conventional, you must -appreciate your limitations about the extremes in shapes, color, and -trimming arrangement. - -Trimmings for our hats should never be heavy nor “bunchy,” but at an -angle and more perky than anything else. Avoid small ornaments, too. A -bow or ornament on a hat can make a great deal of difference in its -height-giving advantages. - - - WRAPS THAT SLENDERIZE AND THOSE THAT DO NOT - -First, beware of fur coats. Even though rich and luxurious, they are -bulky and heavy in appearance. Trim, tailored coats are more flattering -and less expensive, so think twice before you buy a fur coat. Buy lovely -soft fabrics that are rich in quality and soft enough to “cling.” -Remember that word and think of it every time you buy anything but hats. -Let your coat be unbroken in line and untrimmed. A big button set on the -stomach can destroy more art than you can plan out in a month. Oblong -buttons at the side or string ties of the material of the coat are best. - -Have your coat long or hip length. Watch the line carefully. There is a -point that is becoming in length; make sure you find it. - -[Illustration: - - As shown here, fasteners for coats should be placed at the side and be - as inconspicuous as possible. -] - -If you are square shouldered you may find capes very becoming, but -generally they add size rather than reduce it. - -Long fur or fabric scarfs are desirable. Ostrich or ruffly scarfs, of -course, are to be looked at with admiration for their softness and -color, but rarely worn by anyone desiring a slenderizing effect. - - - - - CHAPTER XII - LOOKING SLENDER IS AN ART, A NECESSITY, AND A PLEASURE - - -We cannot all be beautiful but we can give pleasure to ourselves and -others by being correctly and pleasingly attired at all times. And it is -necessary, too, this keeping always alert, in this day of competition -and progressive freedom of women. Your responsibility to look well is -greater than ever before. So work, watch, study and persevere and be -happy about it. Good health is the greatest essential. And no matter -what you weigh, you can, by following the rules given you in this book, -look at least 20 to 40 pounds lighter than you are. You can have real -fun and keep off any additional weight by your alertness, interest and -enthusiasm for looking your “slenderest best” all the time. - -Of course, women who are decidedly overweight need to know these rules -of slenderizing dress more than those who are only a few pounds above -the normal. But in this imperfect world of ours there are few women -indeed, no matter how much or how little they may weigh, whose -proportions are perfect and satisfactory. Where indeed is the woman or -girl who would not like to be a little slimmer here, a little taller -there, a little more gracefully proportioned one place or another? - - - HARMONIOUS PROPORTIONS—THE AIM OF EVERY WOMAN - -I cannot be too emphatic in my assertion that the wrong clothes, or even -a wrong detail in a costume may mar an entire effect and may indeed -create the illusion of ungainliness and dumpiness even in a girl who may -be _underweight_, as far as actual pounds go. Perfect proportions then -are the aim of every woman who wants to make the best of herself and I -am certain that a careful study of these rules of optical illusion and -an intelligent application of them will improve the appearance of -_every_ woman. - -Nor is it the moneyed woman who is always the best dressed. Far from it -indeed. Sometimes it is the shop girl whose few dollars have been wisely -and intelligently spent for smartness and becomingness who looks most -charming and most distinguished, for since these girls rarely have rich -furs and jewels they can more simply and more tellingly emphasize beauty -of line and color. - -The stout woman improves her position by omission rather than addition. -“Every little bit added to what you have makes just a little bit more” -is all right for Scotch pennies, but not for one who is working to look -30 or 40 pounds lighter. Be slim by being trim; be attractive by being -immaculate; and strive with all your might for grace, ease, and personal -charm. Never yield to a misuse of color, line, or fabric. Never give up -in your determination to dress for slenderness. You must admit right now -that it is far more interesting than diet and much more effective. - -And now that you know the rules, study and practice them. Apply them to -perfection so that when dressed you will make a picture of loveliness -such as all may envy and admire. - -Whistler says, “A picture is finished when all trace of the means used -to bring about the end has disappeared. - -“To say of a picture, as is often said in its praise, that it shows -great and earnest labor, is to say that it is incomplete and unfit to -view. - -“The work of the master reeks not of the sweat of the brow—it suggests -no effort.” - -So hide the means, let it not be visible to any one that you have -deliberately and with intent worked to achieve slenderness in your -dress. Only in that way will you really achieve it. - - - SIMPLICITY IS THE FIRST ESSENTIAL - -As you have read and studied this book you have been told many times -what _not_ to do. This advice has been repeated so frequently because I -have wanted to impress you with the fact that _simplicity_ in dress is -the first essential of Youth, Dignity and Slenderness. So to leave out -of your costume the offensive coloring, line or trimming is of prime -importance. - -Here are a few points always to be remembered in planning and designing -or in buying clothes for yourself: - -Choose fabrics that cling, that are of smooth, soft surface, that are -lusterless. - -Choose colors that recede—none that “light up” and “advance” in the eye. - -Avoid clothes that are too small. - -Avoid a tight, short waist line. - -Avoid skirts that are too full, too short, or too long. - -Use set-in sleeves rather than kimono sleeves unless the arm is very -attractive. Then the sleeve must be very short or the dress sleeveless. - -And here, finally, are ten chief rules that will help you profit to the -utmost by what you have learned from this book and aid you speedily in -attaining that slenderized appearance which is your aim: - - - HERE ARE THE TEN CHIEF RULES IN A NUTSHELL - -1. Whenever you make over an old garment or design, have made, or -purchase a new one always apply to it the rules of optical illusion as -regards line, color, and fabric. - -2. When you know what is becoming, try to achieve becomingness in an -_attractive_ way, emphasizing as much smartness and youthful charm in -your dress as age, circumstances and occasion will allow. - -3. Consider what is best for you as an individual. Study your type until -you are sure what you can and what you cannot wear—do not try fantastic -experiments unless you have unlimited means. - -4. Make it a definite rule to assemble your attire and decide on every -detail before you begin to dress. - -5. Aim always to be refreshing, clean, neat, and carefully groomed. - -6. Wear neat, good-looking, perfect fitting shoes appropriate to the -size of your feet, and choose trim, sheer stockings that do not contrast -too strikingly, if at all, with the color of your costume. - -7. Be sure your corsets are right for you and that they surround you -comfortably, but do not mold or hold your flesh too tightly. Let your -brassiere fit perfectly. - -8. Let your slip be of fine, smooth silk or batiste. Have it of the same -color as your dress or of a harmonizing shade. Let the bottom edge come -a trifle shorter than that of the dress, and be sure it fits you without -a wrinkle. - -9. When you are dressed, look yourself over carefully in front of your -mirror and improve every detail as much as possible. Before the last -look or the last dab of powder, consider carefully whether you are -overdressed and whether all accessories go together, and especially make -certain that you are not overtrimmed with jewelry, necklaces, or -knickknacks. - -10. Then, when all is done, put on a smile that expresses the finest -that is in you, that compliments you for doing your best. And if, to -this smile, you add all the kindliness that you can command, all the -happiness that you can summon, your friends and your very own folks will -declare you charming. - - - PRINTED IN U.S.A. - ------------------------------------------------------------------------- - - - - - TRANSCRIBER’S NOTES - - - 1. Silently corrected typographical errors and variations in spelling. - 2. Archaic, non-standard, and uncertain spellings retained as printed. - 3. Enclosed italics font in _underscores_. - - - - - -End of Project Gutenberg's Dress and Look Slender, by Jane Warren Wells - -*** END OF THIS PROJECT GUTENBERG EBOOK DRESS AND LOOK SLENDER *** - -***** This file should be named 63017-0.txt or 63017-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/3/0/1/63017/ - -Produced by Richard Tonsing, Tim Lindell and the Online -Distributed Proofreading Team at https://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/American Libraries.) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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