Woman as Decoration

Chapter 7 FOOTWEAR

Word Count: 864 | Released on: 30/11/2017

ostume; every child

fashion's greatest artist counts for naught if his costume may not include hat, glove

s man or woman not merely your raiment; go farther, and grasp as far as you are able the principles underlying his or her creations. Common sense tells

slender means may rival her friends with munition incomes, if only she will go to an expert with open mind, and through the thoughtful purchase of a completed costume,-hat, gown and all accessories,-learn an artist-modiste's point of view. Then, and we would put it in italics; take seriously, with conviction, all his or her instructions as to the way to wear your clothes. Anyone

e England in the eighteenth century, when picturesque

allet with His Lady. Painted by Thomas Gainsborough and

n & Co., New Yor

th Centu

y Thomas G

ther your heavy ankles will not look more trim in b

te slippers or low shoes might be worn with black or coloured stockings.

ntinue and accentuate line. There are fashions in buckles and bows, but unless you bend the f

; the women you have in mind always continue the line of their gowns with their feet. You can see with your mind's eye how the slender black satin slippers, one of which always protrudes from the black evening gown, carr

line, can you see how you defeat your purpose

r roses, continued the colour scheme of her designer with silver slippers, tapering as Cinderella's, but spoiled the picture she might have made by breaking her lin

absolutely match your costume. It is not enough that in the figure of brocade is the colour of the dress

r of colours used in gowns be but few, getting the desired variety by varying shades of a

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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."”