Woman as Decoration

Chapter 5 ESTABLISH HABITS OF CARRIAGE WHICH CREATE GOOD LINE

Word Count: 629 | Released on: 30/11/2017

s in action, and when seated, her arms and hands in repose and gesture, the poise of her head. It is woman's line resulting from her habit of mind and the control which her mind has over her body,

if properly directed determines the character of the clothes she wears; determines also whether she be a

issance. Then crinoline, gaudy materials, and ornamentations witho

Art Tudor England Por

ners that Americans, both men and women, never appear really at home in evening clothes, that they look as if they felt dressed, is true of the average man and woman of our country and results from the l

w York friends, whose luxurious nurseries and marvellous mechanical toys were a delight, always insisted upon returning home,-a block distant,-to change into white before partaking of milk toast and jam, at the nursery table, the American children keeping on their pink and blue linens of the afternoon. The fact of white or pink is unimportant, but our point is made when we have said that the

e way, when young, and so more easily passes through

the spirit. We of to-day make no claim to consistency or logic. Some of us wear too high heels, even with strictly tailored suits, which demand in the name of consistency a sensible sh

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Woman as Decoration

Emily Burbank Literature

“First published in 1917, advice which was seriously meant at the time it was written can now be read as humor. As explained in the Foreword: "WOMAN AS DECORATION is intended as a sequel to "The Art of Interior Decoration" (Grace Wood and Emily Burbank). Having assisted in setting the stage for woman, the next logical step is the consideration of woman, herself, as an important factor in the decorative scheme of any setting,—the vital spark to animate all interior decoration, private or public. The book in hand is intended as a brief guide for the woman who would understand her own type,—make the most of it, and know how simple a matter it is to be decorative if she will but master the few rules underlying all successful dressing. As the costuming of woman is an art, the history of that art must be known—to a certain extent—by one who would be an intelligent student of our subject. With the assistance of thirty-three illustrations to throw light upon the text, we have tried to tell the beguiling story of decorative woman, as she appears in frescoes and bas reliefs of Ancient Egypt, on Greek vases, the Gothic woman in tapestry and stained glass, woman in painting, stucco and tapestry of the Renaissance, seventeenth, eighteenth and nineteenth century woman in portraits."”