"The deepest mourning excludes kid gloves; they should be of cloth, silk or thread; and no jewelry is permitted during the first month of close mourning. Embroidery, jet tr.i.m.m.i.n.gs, puffs, plaits--in fact, tr.i.m.m.i.n.g of any kind--is forbidden in deep mourning, but worn when it is lightened.

"Mourning handkerchiefs should be of very sheer fine linen, with a border of black, very wide for close mourning, narrower as the black is lightened.

"Mourning silks should be perfectly l.u.s.terless, and the ribbons worn without any gloss.

"Ladies invited to funeral ceremonies should always wear a black dress, even if they are not in mourning; and it is bad taste to appear with a gay bonnet or shawl, as if for a festive occasion.

"The mourning for children under twelve years of age is white in summer and gray in winter, with black tr.i.m.m.i.n.gs, belt, sleeve ruffles and bonnet ribbons."

[Ill.u.s.tration]

CHAPTER x.x.xI.

Harmony of Colors in Dress.

The selection and proper arrangement of colors, so that they will produce the most pleasant harmony, is one of the most desirable requisites in dress. Sir Joshua Reynolds says: "Color is the last attainment of excellence in every school of painting." The same may also be said in regard to the art of using colors in dress. Nevertheless, it is the first thing to which we should give our attention and study.

We put bright colors upon our little children; we dress our young girls in light and delicate shades; the blooming matron is justified in adopting the warm, rich hues which we see in the autumn leaf, while black and neutral tints are declared appropriate to the old.

One color should predominate in the dress; and if another is adopted, it should be in a limited quant.i.ty and only by way of contrast or harmony.

Some colors may never, under any circ.u.mstances, be worn together, because they produce positive discord to the eye. If the dress be blue, red should never be introduced by way of tr.i.m.m.i.n.g, or _vice versa_. Red and blue, red and yellow, blue and yellow, and scarlet and crimson may never be united in the same costume. If the dress be red, green maybe introduced in a minute quant.i.ty; if blue, orange; if green, crimson.

Scarlet and solferino are deadly enemies, each killing the other whenever they meet.

Two contrasting colors, such as red and green, may not be used in equal quant.i.ties in the dress, as they are both so positive in tone that they divide and distract the attention. When two colors are worn in any quant.i.ty, one must approach a neutral tint, such as gray or drab. Black may be worn with any color, though it looks best with the lighter shades of the different colors. White may also be worn with any color, though it looks best with the darker tones. Thus white and crimson, black and pink, each contrast better and have a richer effect than though the black were united with the crimson and the white with the pink. Drab, being a shade of no color between black and white, may be worn with equal effect with all.

A person of very fair, delicate complexion, should always wear the most delicate of tints, such as light blue, mauve and pea-green. A brunette requires bright colors, such as scarlet and orange, to bring out the brilliant tints in her complexion. A florid face and auburn hair call for blue.

Black hair has its color and depth enhanced by scarlet, orange or white, and will bear diamonds, pearls or l.u.s.treless gold.

Dark brown hair will bear light blue, or dark blue in a lesser quant.i.ty.

If the hair has no richness of coloring, a pale yellowish green will by reflection produce the lacking warm tint.

Light brown hair requires blue, which sets off to advantage the golden tint.

Pure golden or yellow hair needs blue, and its beauty is also increased by the addition of pearls or white flowers.

Auburn hair, if verging on the red, needs scarlet to tone it down. If of a golden red, blue, green, purple or black will bring out the richness of its tints.

Flaxen hair requires blue.

MATERIAL FOR DRESS.

The material for dress must be selected with reference to the purpose which it is to serve. No one buys a yellow satin dress for the promenade, yet a yellow satin seen by gaslight is beautiful, as an evening-dress. Neither would one buy a heavy serge of neutral tint for an opera-dress.

SIZE IN RELATION TO DRESS AND COLORS.

A small person may dress in light colors which would be simply ridiculous on a person of larger proportions. So a lady of majestic appearance should never wear white, but will be seen to the best advantage in black or dark tints. A lady of diminutive stature is dressed in bad taste when she appears in a garment with large figures, plaids or stripes. Neither should a lady of large proportions be seen in similar garments, because, united with her size, they give her a "loud"

appearance. Indeed, p.r.o.nounced figures and broad stripes and plaids are never in perfect taste.

Heavy, rich materials suit a tall figure, while light, full draperies should only be worn by those of slender proportions and not too short.

The very short and stout must be content with meagre drapery and quiet colors.

Tall and slim persons should avoid stripes; short, chunky ones, flounces, or any horizontal tr.i.m.m.i.n.g of the dress which, by breaking the outline from the waist to the feet, produces an effect of shortening.

HOW COLORS HARMONIZE.

Colors may form a harmony either by contrast or by a.n.a.logy. When two remote shades of one color are a.s.sociated, such as very light blue and a very dark blue, they harmonize by contrast, though the harmony may be neither striking nor perfect. When two colors which are similar to each other are grouped, such as orange and scarlet, crimson and orange, they harmonize by a.n.a.logy. A harmony of contrast is characterized by brilliancy and decision, and a harmony of a.n.a.logy by a quiet and pleasing a.s.sociation of colors.

When a color is chosen which is favorable to the complexion, it is well to a.s.sociate with it the tints which will harmonize by a.n.a.logy, as to use contrasting colors would diminish its favorable effect. When a color is used in dress, not suitable to the complexion, it should be a.s.sociated with contrasting colors, as they have the power to neutralize its objectionable influence.

[Ill.u.s.tration]

Colors of similar power which contrast with each other, mutually intensify each other's brilliancy, as blue and orange, scarlet and green; but dark and light colors a.s.sociated do not intensify each other to the same degree, the dark appearing darker and the light appearing lighter, as dark blue and straw color. Colors which harmonize with each other by a.n.a.logy, reduce each other's brilliancy to a greater or less degree, as white and yellow, blue and purple, black and brown.

The various shades of purple and lilac, dark blues and dark greens, lose much of their brilliancy by gaslight, while orange, scarlet, crimson, the light browns and light greens, gain brilliancy by a strong artificial light.

Below the reader will find a list of colors that harmonize, forming most agreeable combinations, in which are included all the latest and most fashionable shades and colors:

Black and pink.

Black and lilac.

Black and scarlet.

Black and maize.

Black and slate color.

Black and orange, a rich harmony.

Black and white, a perfect harmony.

Black and brown, a dull harmony.

Black and drab or buff.

Black, white or yellow and crimson.

Black, orange, blue and scarlet.

Black and chocolate brown.

Black and shaded cardinal.

Black and cardinal.

Black, yellow, bronze and light blue.

Black, cardinal, blue and old gold.

Blue and brown.

Blue and black.

Blue and gold, a rich harmony.

Blue and orange, a perfect harmony.

Blue and chestnut (or chocolate).

Blue and maize.