It is the decorative value gained by the judicious placing of one object so that line and colour count to the full. As we have said in _Interior Decoration_, one pink rose in a slender Venetian gla.s.s vase against a green silk curtain may have far more decorative value than dozens of costly roses used without knowledge of line and background. So it is with ornaments on wearing apparel.

III. WOMAN DECORATIVE ON THE BEACH

With a background of grey sand, steel-blue water and more or less blue sky, woman is given a tempting opportunity to figure as colour when by the sea. That it is gay colour or white which makes decorative effects on the beach, even the least knowing realise. _Plein air_ artists have stamped on our mental visions impressions of smart society disporting itself on the sands of Dieppe, Trouville, Brighton, and where not.

Whatever the period, hence outline, white and the gay colours impress one. Most conspicuous is white on woman (and man); then each colour in the rainbow with its half-tones, figures as sweaters, veils, hats and parasols; the striped marquise and gay wares of the venders of nosegays, balloons and lollypops. The artist picks out the telling notes when painting, learn from him and figure as one of these.

On the beach avoid being a dull note; dead greys and browns have no charm there.

What is true of costuming for the beach applies equally to costumes to be worn on the deck of a steamer or yacht.

CHAPTER XII

WOMAN AS DECORATION WHEN SKATING

To be decorative when skating, two things are necessary: first, know how to skate; then see to it that you are costumed with reference to appropriateness, becomingness and the outline demanded by the fashion of the moment.

The woman who excels in the technique of her art does not always excel in dressing her role. It is therefore with great enthusiasm that we record Miss Theresa Weld of Boston, holder of Woman's Figure Skating Championship, as the most chicly costumed woman on the ice of the Hippodrome (New York) where amateurs contested for the cup offered by Mr. Charles B. Dillingham, on March 23, 1917, when Miss Weld again won,--this time over the men as well as the women.

Miss Weld combined good work with perfect form, and her edges, fronts, ins, outs, threes, double-threes, etc., etc., were a delight to the eye as she pa.s.sed and repa.s.sed in her wine-coloured velvet, trimmed with mole-skin, a narrow band on the bottom of the full skirt (full to allow the required amount of leg action), deep cuffs, and a band of the same fur encircling the close velvet toque. This is reproduced as the ideal costume because, while absolutely up-to-date in line, material, colour and character of fur, it follows the traditional idea as to what is appropriate and beautiful for a skating costume, regardless of epoch. We have seen its ancestors in many parts of Europe, year after year. Some of us recall with keen pleasure, the wonderful skating in Vienna and Berlin on natural and artificial ice, invariably hung with flags and gaily lighted by night. We can see now, those German girls,--some of them trim and good to look at, in costumes of sapphire blue, deep red, or green velvet, fur trimmed,--gliding swiftly across the ice, to the irresistible swing of waltz music and accompanied by flashing uniforms.

In the German-speaking countries everyone skates: the white-bearded grandfather and the third generation going hand in hand on Sunday mornings to the nearest ice-pond. With them skating is a communal recreation, as beer garden concerts are. With us in America most sports are fashions, not traditions. The rage for skating during the past few seasons is the outcome of the exhibition skating done by professionals from Austria, Germany, Scandinavian countries and Canada, at the New York Hippodrome. Those who madly danced are now as madly skating. And out of town the young women delight the eye in bright wool sweaters, broad, long wool scarfs and bright wool caps, or small, close felt hats,--fascinating against the white background of ice and snow. The boots are high, reaching to top of calf, a popular model having a seam to the tip of the toe.

No sport so perfectly throws into relief _command of the body_ as does skating. Watch a group of compet.i.tors for honours at any gathering of amateur women skaters and note how few have command of themselves--know absolutely what they want to do, and then are able to do it. One skater, in the language of the ice, can do the actual work, but has no form. It may be she lacks temperament, has no abandon, no rhythm; is stiff, or, while full of life, has bad arms. It is as necessary that the fancy skater should learn the correct position of the arms as that the solo dancer should. Certain lines must be preserved, say, from fingers of right arm through to tip of left foot, or from tip of left hand through to tip of right foot.

PLATE XV

A portrait by John S. Sargent. (Metropolitan Museum, painted about 1890.)

We have here a distinguished example of the dignity and beauty possible to a costume characteristic of the period when extreme severity as to outline and elimination of detail followed the elaboration of Victorian ruffles, ribbons and lace over hoops and bustle; curled hair and the obvious cameo brooch, ma.s.sive bracelets and chains.

[Ill.u.s.tration: _Metropolitan Museum of Art_ _Late Nineteenth Century Costume about 1890 A Portrait by John S. Sargent_]

"Form" is the manipulation of the lines of the body to produce perfect balance, perfect freedom and, when required, perfect control in arrested motion. This is the mastery which produces in free skating that "melting" of one figure into another which so hypnotises the onlooker.

It is because Miss Weld has mastered the above qualifications that she is amateur champion in fancy skating. She has mastered her medium; has control of every muscle in her body. In consequence she is decorative and delightful to watch.

To be decorative when not on skates, whether walking, standing or sitting, a woman must have cultivated the same feeling for line, her form must be good. It is not enough to obey the A. B. C.'s of position; head up, shoulders back, chest out, stomach in. One must study the possibilities of the body in acquiring and perfecting poses which have line, making pictures with one's self.

In the _Art of Interior Decoration_ we insist that every room be a beautiful composition. What we would now impress upon the mind of the reader is that she is a part of the picture and must compose with her setting. To do this she should acquire the mastery of her body, and then train that body until it has acquired "good habits" in the a.s.suming of line, whether in action or repose. This can be done to an astonishing degree, even if one lacks the instinct. To be born with a sense of line is a gift, and the development of this sense can give artistic delight to those who witness the results and thrill them quite as sculpture or music, or any other art does.

The Greek idea of regarding the perfectly trained body as a beautiful temple is one to keep in mind, if woman would fulfil her obligation to be decorative.

Form means efficiency, if properly understood and carried out according to the spirit, not the letter of the law. Form implies the human body under control, ready for immediate action. The man or woman with _form_, will be the first to fall into action when required, because, so to speak, no time is lost in collecting and aiming the body.

One of the great points in the teaching of the late Theodore Leschetizky, the world's greatest master in the art of piano playing, was that the hand should immediately a.s.sume the correct position for the succeeding chord, the instant it was lifted from the keys;--preparedness!

The crack regiments of Europe, noted for their form, have for years been the object of jests in those new worlds where brawn and muscle, with mental ac.u.men, have converted primeval forests into congested commercial centers. But that form, so derided by the pioneer spirit, has proved its worth during the present European war. The United States and the Central Powers are now at war and military guards have been stationed at vulnerable points. Only to-day we saw one of Uncle Sam's soldiers, one of three, patrolling the front of a big armory,--standing in an absolutely relaxed position, his gun held loosely in his hand, and its bayonet propped against the iron fence. One could not help thinking; _no_ form, no preparedness, no efficiency. It goes without saying that prompt obedience cannot be looked for where there is lack of form, no matter how willing the spirit.

The modern woman when on parole,--walking, dancing, driving, riding or engaged in any sport, to be efficient must have trained the body until it has form, and dress it appropriately, if she would be efficient as well as decorative in the modern sense of the term. No better ill.u.s.tration of our point can be found than in the popular sport cited at the beginning of this chapter.

CHAPTER XIII

WOMAN DECORATIVE IN HER MOTOR CAR

It is not easy to be decorative in your automobile now that the manufacturers are going in for gay colour schemes both in upholstery and outside painting. A putty-coloured touring car lined with red leather is very stunning in itself, but the woman who would look well when sitting in it does not carelessly don any bright motor coat at hand. She knows very well that to show up to advantage against red, and be in harmony with the putty-colour paint, her tweed coat should blend with the car, also her furs. Black is smart with everything, but fancy how impossible mustard, cerise and some shades of green would look against that scarlet leather!

An orange car with black top, mud-guards and upholstery calls for a costume of white, black, brown, tawny grey, or, if one would be a poster, royal blue.

Some twenty-five years ago the writer watched the first automobile in her experience driven down the Champs Elysees. It seemed an uncanny, horseless carriage, built to carry four people and making a good deal of fuss about it.

A few days later, while lunching at the Cafe de Reservoir, Versailles, we were told that some men were starting back to Paris by automobile, and if we went to a window giving on to the court, we might see the astonishing vehicle make its start. It was as thrilling as the first near view of an aeroplane, and all-excitement we watched the two Frenchmen getting ready for the drive. Their elaborate preparation to face the current of air to be encountered en route was not unlike the preparation to-day for flying. It was Spring--June, at that--but those Frenchmen wearing very English tweeds and smoking English pipes, each drew on extra cloth trousers and coats and over these a complete outfit of leather! We saw them get into the things in the public courtyard, arrange huge goggles, draw down cloth caps, and set out at a speed of about fifteen miles an hour!

PLATE XVI

A portrait of Mrs. Thomas Hastings of New York painted by the late John W. Alexander.

We have chosen this--one of the most successful portraits by one of America's leading portrait painters--as a striking example of colour scheme and interesting line. Also we have here a woman who carries herself with form. Mrs. Hastings is an accomplished horsewoman. Her fine physique is poised so as to give that individual movement which makes for type; her colour--wonderful red hair and the complexion which goes with it--are set off by a dull gold background; a gown in another tone of gold, relieved by a note or two of turquoise green; and the same green appearing as a shadow on the Victory in the background.

We see the sitter, as she impressed an observer, transferred to the canvas by the consummate skill of our deeply lamented artist.

[Ill.u.s.tration: _A Modern Portrait By John W. Alexander_]

The above seems incredible, now that we have pa.s.sed through the various stages of motor car improvements and motor clothes creations. The rapid development of the automobile, with its windshields, limousine tops, shock absorbers, perfected engines and springs, has brought us to the point where no more preparation is needed for a thousand-mile run across country with an average speed of thirty miles an hour, than if we were boarding a train. One dresses for a motor as one would for driving in a carriage and those dun-colored, lineless monstrosities invented for motor use have vanished from view. More than this, woman to-day considers her decorative value against the electric blue velvet or lovely chintz lining of her limousine, exactly as she does when planning clothes for her salon. And why not? The manufacturers of cars are taking seriously their interior decoration as well as outside painting; and many women interior decorators specialise along this line and devote their time to inventing colour schemes calculated to reflect the personality of the owner of the car.

Special orders have raised the standard of the entire industry, so that at the recent New York automobile show, many effects in cars were offered to the public. Besides the putty-coloured roadster lined with scarlet, black lined with russet yellow, orange lined with black; there were limousines painted a delicate custard colour, with top and rim of wheels, cha.s.sis and lamps of the same Nattier Blue as the velvet lining, cushions and curtains. A beautiful and luxurious background and how easy to be decorative against it to one who knows how!

Another popular colour scheme was a mauve body with top of canopy and rims of wheels white, the entire lining of mauve, like the body. Imagine your woman with a decorative instinct in this car. So obvious an opportunity would never escape her, and one can see the vision on a Summer day, as she appears in simple white, softest blue or pale pink, or better still, treating herself as a quaint nosegay of blush roses, for-get-me-nots, lilies and mignonette, with her chiffons and silks or sheerest of lawns.

"But how about me?" one hears from the girl of the open car--a racer perhaps, which she drives herself. You are easiest of all, we a.s.sure you; to begin with, your car being a racer, is painted and lined with durable dark colours--battleship grey, dust colour, or some shade which does not show dirt and wear. The consequence is, you will be decorative in any of the smart coats, close hats and scarfs in brilliant and lovely hues,--silk or wool.

CHAPTER XIV

HOW TO GO ABOUT PLANNING A PERIOD COSTUME