Book of Etiquette/Volume 2/Part 4/Chapter 2

by Lillian Eichler

CHAPTER II

DRESS

THE FIRST IMPRESSION

The two most important guides to one's personality are one's appearance and one's manner of speech. Centuries of experience have shown that by means of these one may almost without exception get at least a general idea of the sort of person that lies back of them.

Dress is the most important factor in the first impression. An honest heart may beat beneath the ragged coat, a brilliant intellect may rise above the bright checked suit and the yellow tie, the man in the shabby suit may be a famous writer, the girl in the untidy blouse may be an artist of great promise but as a general rule the chances are against it and such people are dull, flat, stale, and unprofitable both to themselves and to other people.

Like advertising, dress should call attention not to itself but to the person or product which it represents so that people will say, not, "What an attractive gown!" but "What a lovely woman!" not, "What a well-dressed man!" but, "I think I should like to know that man."

There is more room for originality, and by the same token for freakishness in woman's dress, and therefore the greater responsibility is hers. Her clothes should belong to her rather than merely to the era in which she happens to be living. This means that they must be individual but it does not mean that they should be outlandish. Again the golden rule of the Greeks: Moderation in all things.

The attitude of a number of people is expressed in the old limerick:

As for looks I know I'm no star.
There are men better looking by far;
But my face I don't mind it
For I am behind it.
It's the folks out in front that I jar.

It is worth while now and then to think of the "folks out in front," and pity for them, if no other feeling, should inspire one to be at all times as well dressed as is within the compass of one's means and ability.

MEN'S DRESS

In the morning when he goes out to business a man should wear a plain serviceable suit of the prevailing cut. If he is invited to an elaborate morning entertainment he may wear the regular cutaway coat and the usual accessories that go along with it. It is always best to follow the local customs with regard to dress and it is absurd for one man to appear at a formal morning affair in the cutaway coat when he knows that all of the other gentlemen present will be in their simple business suits.

For formal afternoon affairs the cutaway is worn while for dinner in the evening full dress is prescribed as it is for any formal entertainment which takes place after six o'clock. To informal garden parties and other similar affairs in the afternoon during the summer, flannels may be worn.

There are special sporting outfits designed for the man who golfs, plays tennis, rides or motors and the best guide to all of these is a reliable haberdasher. It is his business to keep up with the details of dress and since these are constantly in process of change it is obviously impossible for a book of etiquette to lay down precise rules as to what should be worn.

If a man is to escort a woman he should adapt his costume to hers. If she is to wear evening dress he should also, and if he is in doubt as to whether she is to wear evening dress or a simpler costume, he should ask her. In many cases it rests with the individual which shall be the order of the day.

WOMEN'S DRESS

The woman who goes to business must dress inconspicuously. Clean, freshly laundered white shirt waists with simple dark skirts form the best of outfits. But with laundry bills at prohibitive prices, a substitute must be found for them for the girl in moderate circumstances. For this reason it is more sensible to wear dark serge, silk, or satin fashioned into severely simple frocks relieved perhaps by white linen or organdie collars and cuffs.

The woman who entertains at home in the morning wears a simple frock of the sort in which she may appear on the street. Similarly, in the afternoon unless the occasion is an elaborate one, when she may wear an elegant reception gown or an informal tea, when she may wear one of the exquisite creations especially designed for such occasions.

There is a semi-evening dress which may be worn to afternoon affairs or to dinner and to all evening entertainments except very elaborate ones. For these a woman's gown should be décolleté and should be of beautiful material. The color and design are at the discretion of the individual but it is well to remember that those which are simplest are most effective.

It is trite to remark that a woman's crowning glory is her hair, but it is true. The manner in which it is arranged should depend upon the kind of costume she is wearing. Only in the evening should she wear heavy bandeaux, aigrettes, etc.

Scattered about elsewhere in these volumes under the theater, etc., more details are given as to the proper kind of dress to wear. Remember this: it is always better to be underdressed than to be overdressed.

THE STORY OF DRESS

It is interesting to note how closely the history of dress parallels the history of civilization. With the awakening of shame came the virtue of modesty. With modesty came the desire for clothes, and clothes brought thoughts of higher ideals, wider desires than those merely of the animal. Out of the desire to cover the body grew the love of decoration, of beauty. Slowly, through the ages, as the love of beauty advanced and was cultivated, an artistic sense developed which is the very flower of our civilization.

Perhaps the most effective way to tell the story of dress is to make this very striking comparison. First let us go back to the time of the prehistoric cave-woman. In her breast the first thought of shame has stirred, and she makes for herself a covering—a dress. She makes it of the skin of a newly killed animal. It is raw and ugly and unpleasant. But the owner feels naught but pride in its ownership, for it is a good skin, impervious alike to the ravages of sun and rain—and its style is exactly like that of the other women in the tribe.

Now let us stand for a moment on a comer of Fifth Avenue, New York's famous avenue of fashion. We see a modern young woman on her way to the theater. From the tips of her French-heeled slippers to the jaunty little hat on her head, she is—perfect. Her gown seems to express in every line the story of her own personality. The color-scheme might well have been invented by Mother Nature herself. The wrap she wears is of sable furs—but how different from the furs of her sister of ancient days! Each skin is exquisitely glossed and dressed, and the whole matched to perfection.

Another young woman passes. She is differently attired in trig tailored suit and smart toque. A business girl. Also perfect. And countless others, streaming endlessly along the wide avenue, men and women, defying in the expression of their own taste and individuality, the decrees of fashion; interpreting silks, cottons, fabrics and furs to harmonize with their own particular personalities, and the story of civilization is told in the clothes they wear.

THE DAWN OF FASHION

It was Cowper who said, "While the world lasts, Fashion will lead it by the nose." And really, hasn't Fashion been a stern monarch throughout the ages? It commanded the Chinese women to have tiny feet—and tiny feet they had to have although it meant months of torture to the young child. It commanded the monstrous ruff of the Elizabethan period, and decreed dignified wigs for the gentlemen of the Colonial days. It decided upon the mantle of the patriarch, the toga of the Roman, the fez of the Turk. Its endless whims and vagaries made the study of dress one of the most curious and fascinating in the world.

How was Fashion created, you ask? To answer thoroughly, we must once more go back to those distant cave-man days when dress itself had its inception. At first one simple costume for both men and women distinguished each tribe. There was nothing different in the way the skins were thrown over the body, no embellishments to render any one costume different from those worn by the others. Even at a relatively late date, uniformity of dress among people of one race was like a national characteristic; it was worn by all.

But slowly, as the tiny beam of civilization struggled onward and upward, there came a desire for something more than merely a protection against cold and rain. There came a very intense desire for ornamentation and personal adornment. Thus we find men and women in Central Africa decorating their bodies with stripes of paint, and those who were still more "fashionable" deforming themselves with most weird series of cicatrices on their bodies and faces. In New Guinea we find women who do not indulge in clothing at all, ashamed to appear in public without bracelets on their arms and legs, and ornaments on their heads. So intense did this love of ornament grow among women, that they began to cover their bodies with fur, feathers, shell, beads and countless ornaments. As late as the year 400 the primitive desire for self-adornment is evident. In that year, it is recorded that the wife of the Emperor Honorius died, and when her grave was reopened in 1544, the golden tissues of her shroud were melted and amounted in weight to thirty-six pounds.

Men and women alike hesitated to think for themselves in those earlier periods. Thus, instead of creating "styles" for themselves, they chose the easier method of imitating what others wore—changing it just enough to meet with their own requirements, to satisfy their own undeveloped tastes. One tribe copied what another wore, changing it only slightly according to whim. We find that man soon realized that the accumulation of coverings on his body hindered him in his strenuous activities. It was quite natural, then, that simplicity should dominate his attire, while to woman was left the development of the decorative art.

Fashion was born—and it has remained undisputed ruler ever since.

THE FASHIONS OF TO-DAY

It is not so much in the Fashion of days gone by that we are interested, but in the very delightful fashions of today. We all know that the love of beauty is inherent in all women—just as the pride of personal appearance is inherent in all men. It is a heritage brought down through generations of slowly developing culture. And we find to-day that Fashion is the means of expressing individuality.

It would indeed be a Herculean task to attempt to write a discourse on the ever-changing dictates of Fashion, on the constant whims and vagaries of Style. Each season brings forth striking new dress innovations—new colorings, new draperies, new lines. What is in vogue to-day is cast aside to-morrow as "out-of-date."

In the world of good society, dress plays an important part in the expression of culture. There is a proper dress for afternoon wear, and another for evening functions. There are certain costumes for the wedding, and others for the garden fete. The gentleman wears one suit to business, and another to dinner. Where civilization has reached its highest point, there has dress and fashion reached its finest and most exquisite development.

But instinct can be carried to excess. Inherent love of beauty can be so abused that it becomes a sign of vanity. Fashion can be made a series of fads, and style an excuse for eccentricities. It is because men and women, and especially women, are so eager to adopt any new style creation offered to them by the vast army of "authorities," so impatient always for something new, new—that the dress of to-day has earned the censure of students of sociology. "Supply the demand" has ever been the slogan of the producers, while they strive in every way to increase the demand.

And yet, the study of dress is a beautiful one. Women are never so lovely as when they are dressed well. Men are never so attractive as when their garments are faultless. There is something romantic in the gown and veil of the bride, just as there is something delightfully refreshing in the sight of a young girl daintily attired on a hot Summer's day. There is poetry in dress, just as there is in a towering cathedral or in a well-molded statue.

HARMONY IN DRESS

One of the most important, in fact, the important principle of dress is harmony. Nature itself is a glorious example of all that is harmonious. Picture, for instance, the delicate pansy, with its soft blend of greens and yellows and purples. Think of the exquisite china-aster with its pale colorings of violet and pink. And the many-hued rainbow that glorifies the sky with a sudden brilliance. How utterly irresistible are these harmonies of Nature, and how well we can all profit by her example!

The spirit of the modern dress seems to be more definitely centered around "sensation" than harmony. We see sport skirts worn with high-heeled shoes, pinks indulged in where navy blue or dark brown would be more appropriate, elaborate motifs and decorations where simplicity should have been. And we see women, priding themselves upon being fashionable, wearing gowns that are pretty enough, but that on them are completely out of harmony.

The reason for this is that so many women, and men too, accept the dictates of Fashion without stopping to determine whether or not these new creations are suitable to their own particular type. They do not realize that to be fashionable does not mean to follow conscientiously every new fad, but to adjust the prevailing style to conform with the lines of their individual faces and forms. To illustrate: it is ridiculous for the very slim young lady to wear a severe straight-line frock simply because it is the fashion, but she can adapt the straight-line effect to her own figure, and add a bit of fluffiness. Similarly, the stout woman need not wear tremendous, voluminous ruffles and flounces because Fashion decrees that they shall be worn, but she may gain the desired effect by using them in moderation.

Why is it that a gown may look thoroughly beautiful on a manikin, but have an entirely different effect when you put it on? Because you have distinct personality, you have little peculiarities of line and coloring that require special consideration. To select lines that harmonize with the lines of your body, colors that harmonize with your own coloring, and styles that harmonize with your particular type, is to dress well and attractively. Seek harmony first—and style afterward.

IMPORTANCE OF COLOR

"White was made for brides," but that is no reason why we, all of us, cannot enjoy it in its cool daintiness, youthful simplicity. White may always be worn—by young and old, at party and dance, in morning and afternoon. It is, and always will be, the ideal color.

But Fashion, in a different mood, demands many hues both soft and brilliant. And here again, whether she dictates pale pink or vivid scarlet, one must be guided by ones own sense of taste and harmony.

The colors of the dress must blend with the natural colors if beauty is to be obtained. Remarkable effects, as startlingly beautiful as the somber afterglow of the setting sun, can be obtained by the correct use of color. It may be contrast or harmony—but there must be a perfect blend.

To illustrate for a few individual types: the sallow complexioned brunette must never wear yellow, even though it is the favorite color of the season, for it brings out more clearly the yellow lurking in the sallowness of her cheeks. The person with "coal black" hair must avoid blues, light and dark; the colors that most become her are crimson, orange, dark red. Pink is the ideal color for the blond woman with warm coloring; black for the woman with fair skin. Pink and green are for youth; purple and black are for age. The other colors may be used according to the artistic sense of the wearer.

In selecting material for a gown, the fashionable modiste will first consider the eyes of the lady who is to wear it. Though few but the artist realize it, the eyes are the keynote of the entire costume. They determine whether the dress shall be frivolous or demure, gay or somber, vivid or soft. The color of the hair, also, is important in deciding the color of the gown itself. The soft colors—pink, green, violet, blue—are admirably adapted to blue eyes and light hair while the more brilliant colors are suitable for dark eyes and black hair.

So large a part does color play in the creating of fashions that one must give it correspondingly careful consideration in adapting it to one's complexion and hair. A wrong color has the alarming propensity of marring the beauty of the most charming gown—even as the use of the right color enhances the beauty of the most simple gown. With harmony, style and color the gown needs only the final touch of personality to make it perfect. And it is that of which we are now going to speak.

THE CHARM OF PERSONALITY

Dress is an index to character as surely as a table of contents is an index to what a book contains. We know by looking at an over-dressed young person, with a much-beruflled and ornamented frock, that she is vain. We know by glancing at a young man who wears an orange tie, checked hat, and twirls a bamboo cane, that he is inclined to be just the least bit gay. We know by the simple dignity of an elderly woman's dress that she is conservative and well-poised.

In the clothes we wear we reveal to the world the story of our ideals, our principles. If we are frivolous, our clothes show it. If we have a sense of the artistic, our clothes show it. If we are modest, bold, vain or proud the clothes we wear reveal it for all the world to see.

But "Dress changes the manners," Voltaire tells us. It is true; on the stage the "beggar" in his tattered clothes acts and speaks and looks the part of a beggar. At dress rehearsals he plays the part to perfection, but rehearsing in ordinary street clothes he is never quite satisfactory. Something seems to be missing; and that something is personality. The same is true of the rather studious young girl who is also shy and retiring. In her somber clothes, she is perfectly content in the gloomy solitude of her study; but dressed in a filmy little frock of lace and net, with her hair youthfully marcelled, with buckled slippers on her feet, she feels vaguely dissatisfied. She wants to skip and dance and laugh and sing; if she knew psychology and the personality in dress, she would be able to explain it to herself in this manner: clothes so affect the mental outlook, that the wearer unconsciously adopts the personality portrayed.

Can you imagine a Lord Chesterton in tattered clothes, a Queen Elizabeth in a limp calico frock, a George Washington in a conspicuously checked suit? Unmistakable qualities of character are discernible in the clothes we wear—and for that reason we should be particularly careful to make them a true expression of our personality.

Thus when you want to feel light-hearted and free from care, wear delicate fabrics and bright hats. When you want to be thoughtful and solemn, wear heavy clothes and large, drooping hats. Adapt your clothes to your moods, or your moods to your clothes; but have always one ideal in dress—yourself.

This holds equally true of the man. When weighty business matters are to be attended to, dark suits with correspondingly somber ties and shirts attract the desired mood of seriousness. For less sedate, though not less important, occasions, brighter attire makes one forget the cares of business and assume an air of gayety. One may recline in a full-dress suit and strive vainly for rest; but the mere putting on of a smoking jacket brings an immediate feeling of relaxation.

As Haliburton so pointedly said, "As soon as a person begins to dress 'loud' his manners and conversation partake of the same element."

GAUDINESS VERSUS GOOD TASTE

Striking attractiveness, rather than simple good taste, seems to be the spirit of modern dress. To see a beautiful young woman in gaudy clothes is as disappointing as seeing a romantic old Spanish tale bound in a cheap paper cover.

How much more delightful is a simple frock, developed of rich materials, and boasting only deep soft folds of the material as decoration, than an elaborate gown with rows and rows of imitation gold lace! And yet, we find that many of our most fashionable women, priding themselves on having good taste, select clothes that are conspicuous and gaudy rather than those that are simple.

Beauty of material and excellence of workmanship should be the primary considerations in selecting a new gown or suit. If ornament is desired, the laws of harmony, contrast and personality should be carefully considered. Colors must blend; there must be no weird contrasts that jar badly on one's artistic sense. Gaudiness, after all, defeats its own purpose, for it expresses a certain vulgarity. The desire to attract attention has no place in the world of good breeding.

Who wishes to be stared at, remarked upon, openly admired—if not the ill-bred woman, the sorely uncultivated man? Good taste finds expression in gowns that are simple, inconspicuous, yet well-cut and artistic; in suits that are quiet, conservative and well-tailored. And the good taste finds its reward in the genuine admiration and keen appreciation of others.

"EXTRAVAGANCE THE GREATEST VULGARITY"

That is what Dr. Crane says—Dr. Crane, who has studied manners in all their aspects. "Extravagance is the greatest vulgarity." How true it is! How many of us adjust the expenditure for clothes in our households, not by what we ourselves can afford, but by what our neighbors and friends spend!

Fashion is a temptress. Smart gowns, exquisite hat creations, attractive styles in bootery, all tempt us to spend more than is really quite necessary. The extravagant woman fills her wardrobe with numerous dresses, blouses and hats for which she has no real use. But how, much more sensible it is to have just enough for one's needs, a few stylish, well-made garments—each one an expression of the wearer's own personality.

There seems to be a false impression among men and women alike, that to be fashionable one must have a new dress for every occasion, a different suit for every day of the week. As a matter of fact, this is an entirely mistaken idea. Fashion is not measured by the number of suits or dresses we have, but by the good taste we display in their selection.

It is significant that the woman whose wardrobe is filled to overflowing, invariably finds that she has "nothing to wear," while the woman of taste, with her carefully selected wardrobe, always seems to be dressed just right.

INAPPROPRIATENESS IN CLOTHES

Just as there are certain laws governing the manners and conduct of society, there are certain laws governing the uses of dress. What is correct for the dance, is entirely incorrect for street wear. What one wears on a shopping trip may not be worn to the theater, the gentleman must not wear his business suit to dinner. Occasion governs costume—and its dictates must be heeded if one would be considered both fashionable and well-bred.

There is, for instance, the modish young lady taking an afternoon stroll in high-heeled satin slippers. What could be more inappropriate? Satin slippers should be worn only with semi-evening or evening dress—never with street clothes. Pumps with fur coats are strikingly inconsistent, as are straw hats with winter attire, or velvet hats with dainty summer-time frocks. True fashion does not profess to distort the seasons, although the style authorities would often have us believe so for their own material gain.

Then, of course, there is the young person who is athletically inclined, and insists on wearing sport clothes on all occasions. We see her on a shopping tour, blissfully unaware of how ridiculous her full-pleated skirt and loose middy appear beneath her elaborate wrap. We see her at a tea, enthusiastic over the glories of the eighteenth hole, and interpreting the glances of her friends at her sport shoes and bright sweater as glances of admiration rather than disapproval. Sport clothes are for the tennis courts, golf links, skating rinks and similar places. They have no place at teas and receptions.

Of the transparent blouses and silk dresses of the business woman, we will speak later; but in drawing a comparison, we might say that they are no more inappropriate than the eccentricities of dress assumed by some of our women of fashion. The importance of this question warrants a special paragraph.

THE ECCENTRIC DRESSER

Many men and women, in the mistaken belief that they are expressing personality, adopt certain peculiarities of dress.

Eccentric dressing always attracts attention, and is therefore bordering on the vulgar. There are, of course, many men and women who enjoy attracting attention, who delight in being considered "different." In such people we are not interested. It is the people of good taste that we wish to advise against the mistake of wearing peculiar and unconventional clothes.

There is a very old tale related about an Egyptian queen who owned a chain of coral, strung on a strip of dried skin from one of their sacred animals. She gloried in the possession of it, and in order to do full justice to it, she forbade everyone in her kingdom to wear beads.

The man or woman of to-day who wears "different" clothes, unconventional and in most cases unbecoming garments, is merely obeying the same vain and selfish instinct that prompted that Queen of long ago to forbid the wearing of beads.

As for personality, the man or woman who cannot express it in correct, conservative and conventional clothes, certainly cannot express it in grotesque and eccentric ones.

COMFORT IN CLOTHES

Beautiful dress alone is not enough. We may be attracted to a manikin, but after five minutes or so it bores us. With beauty of dress there must also be a grace and ease of manner without which no man or woman is quite charming, for uncomfortable garments rob us of all poise and grace.

Think of holding a quiet, serious, calm conversation while one's foot aches painfully because of a tight shoe! Think of sitting gravely and patiently through a long concert while one's too-tight collar grows ever more and more irritating, while one's narrow jacket becomes constantly more uncomfortable!

To be uncomfortable is to be conscious of what one is wearing; and we know that well-dressed men and women are never conscious of clothes. They know instinctively that they are well-dressed, and with the knowledge comes a dignity that adds charm to the beauty of their costumes. Thus they are able to enter whole-heartedly into conversation, feeling neither constrained nor uncomfortable but enjoying that serene satisfaction that comes when one is fully aware that one is well-dressed.

The early Romans had two distinct costumes which were worn alike by rich and poor—one simple, flowing garment for the ordinary activities of every-day life, and one that was also simple but a bit more decorative, for the ceremonial occasions. Perhaps the grace and ease of manner for which the Romans of yore were noted was due to the delightful comfort of their dress.

Tight shoes, extreme styles, uncomfortable wraps, coats or suits—anything that in any way makes you conscious of what you are wearing, should be rigidly avoided. You are truly a "slave of fashion" if you allow yourself to suffer hours of torture merely to present an appearance that would have been vastly more pleasing if it had been accompanied by the graceful ease of manner of which discomfort robbed you.

IF ONE IS NOT AVERAGE

We cannot all be perfect "sixteens" or perfect "thirty-sixes." Some of us are taller than others. Some of us are inclined to be stout. Some of us are short, and others very slender. We all have distinct individualities that can be marred or "starred" in the manner of dress we adopt.

We should all study our "good points" and wear the kind of clothes that will emphasize them at the same time that it will conceal our defects. Clothes have the power of magnifying imperfections. The too-stout woman can wear dresses that will make her look twice as stout. The short man can wear suits that make him look very much shorter. Intelligence, good judgment and a sense of beauty will achieve remarkable results for the man or woman who cares about his or her appearance.

There is the very thin woman, for instance. She must avoid the severely straight up-and-down lines that are so appropriate for other women who are built differently. Her forte is tunics, large collars, ruffles, overblouses and bows. Soft, filmy materials that fall in graceful lines are especially becoming, as are checked and flowered materials. Stripes in all forms must be strictly avoided as they accentuate the slenderness. For the thin woman, an easy, graceful manner is most important. When she develops such a manner, and combines it with the fluffiest and most frilly of feminine fashions, one will see how very charming she can be.

The too-stout woman faces a more difficult problem. She must carefully consider each detail of her dress, making sure that it does not in any way accentuate her fleshiness. She must avoid the checked and brightly-colored materials that her slender friends may wear. Long lines should be worn, and it should be remembered that clothes without waistlines work wonders for the stout woman—just as the coat without a belt improves the appearance of the stout man. Such edicts of fashion as the tight sleeve, round neck or short waist are not for the stout woman. The ideal dress for her is one long and sweeping in line. The length of the skirt, as well as details of style, must be adapted to her own particular requirements. She will find that she will be much happier (and her friends, too!) if she forgets that she is stout, and does not constantly bewail the fact to those who are with her. It is not deplorable to be stout, but it certainly is deplorable to dress in a manner which emphasizes that stoutness.

TALL AND SHORT PEOPLE

Tall people have a distinct advantage. They are able to wear all styles, all colors, unless they are extremely tall. They seem to have a certain natural grace that lends charm to whatever they wear. But there is the too-tall person who must be careful of what he or she wears. The very tall woman should avoid stripes as they add to her height. She must not wear high collars, nor severely tailored blouses. The tailored suit, however, becomes her. She should avoid bright colors and indulge a great deal in blacks and "midnight" blues. The tall man may wear whatever he pleases—as long as it is not conspicuous. He almost invariably presents an imposing and dignified appearance if he is well dressed.

Short people, especially short women, must exert special care in the selection of their wardrobes. The short woman must select only those gowns that have long lines, long-waisted effects. Bright colors are not for her—except a touch here and there. Short skirts are more becoming than long ones, just as stripes are more becoming than checks. Two extremes that the short woman must never indulge in, are large, drooping hats and extremely high heels. The hat cuts her height, and the heels give her a tilted appearance.

Whether you are tall or short, stout or slender, you have some particular attractiveness, and you should not allow the knowledge of your imperfections to make you timid or awkward. It needs only the correct dress and the proper spirit of pride and dignity to accentuate your personal charms. Remember that it is personality that counts—personality and character—and while some of the world's greatest personalities have been exceptionally tall, just as many of them have been extremely short!

THE WELL-DRESSED WOMAN

Someone once said there is nothing more beautiful than a beautiful woman. A pretty sentiment, but not quite complete. We would have it read: There is nothing more beautiful than a beautiful woman well-dressed.

When is a woman well-dressed? It cannot be when she is merely fashionable, for when we glance at the fading portrait of some forgotten ancestor, graceful in her Colonial gown with its billows and billows of creamy white lace, we feel instinctively that she is well-dressed. And yet, we cannot call her fashionable. It cannot be elaborate attire, for we know that the stylish young miss in her severely tailored suit and sailor hat is certainly well-dressed. It cannot be distinctiveness—or individuality—for many a delightfully well-dressed young woman buys all her frocks and suits in the shops.

No, it is neither of these—and yet, it is all of them. The well-dressed woman has the faculty of charming you—and yet you yourself know not why. You know that she is well-dressed, but when she is gone you cannot remember just what it was that she wore. You have only a faint recollection of a perfect harmony of line and color.

She is fashionable, yes; and elaborate, too, if the occasion warrants it. She is distinctive, but not obviously so. But if she is truly well-dressed, her clothes are of the best materials and the workmanship is faultless. Style, color and line are all incidental to these two dominating principles of dress—material and workmanship.

The striking characteristic of the woman who is well-dressed is her poise, her grace and ease of manner, on all occasions. She is never self-conscious, never uncomfortable. She never is the center of attraction because she is never conspicuous. She is simply yet smartly dressed, graceful yet dignified, attractive yet inconspicuous. Above all, she is always well-dressed—not only on festive occasions.

Every woman has within her the possibilities of being charming—if not beautiful. It requires only the knowledge of correct dress, of harmony and beauty in costume. There is, of course, the woman who insists that she does not care at all about clothes, that she does not care how she is dressed. But she is the exception, and we are interested in the rule. Woman does herself an injustice by being dowdy, careless or commonplace in dress. She puts herself at an unfair disadvantage. Charm and beauty are the heritage of woman, and the world expects it of her.

NOT A SLAVE TO FASHION

The woman who is ruled by fashion may not consider herself a well-dressed woman. If her sense of beauty is developed, if she knows the value of art and harmony, she will not be the slave of a stupid mode. She will not worship at the pedestal of fashion, trembling as each new decree is announced lest she be not among the very first to observe it. Style does not dominate her personality; rather, her personality dominates style.

And after all, is it not absurd to adhere slavishly to that which is in vogue, without attempting to adapt those modes to one's own individuality? There is, for instance, the woman who discards an otherwise attractive and fashionable gown merely because the sleeves are slightly puffed instead of severely tight-fitting as the whim of Fashion demands. She does not stop to consider that puffed sleeves are infinitely more becoming to her. They are not the "latest"—and that fact alone is enough to cause her to discard the gown.

An excellent thought for the girl or woman who wishes to be well-dressed, to remember, is: always dress as though you were going to the photographer to have your picture taken—a picture that you are going to leave to your children to remember you by. If you keep this in mind, you will never wear commonplace clothes nor clothes that are extreme in style, but you will dress with simplicity and taste, being sure to add here and there a touch of your very own personality—perhaps a corsage of violets to show your love of flowers, or a rare old cameo brooch to show your reverence for the things grown old.

THE WELL-DEESSED MAN

Few men realize the tremendous importance of clothes both in the social and business worlds. The effects of dress are far-reaching—and they are certainly no less so among men than women.

There is the story of the man who gained admittance to the Athenaeum Library in Boston, although he was not a member. After spending a very pleasant morning reading, he prepared to leave. It was then that he was attracted to a rather dowdy individual who was remonstrating indignantly with an official at the door. "I am a member, I tell you!" he exclaimed. "Well, you certainly don't look it," the other retorted.

The man who had spent a morning in the library hastened away. He had not known that use of the reading rooms was restricted to members. But no one had questioned him, as he looked the part of a member. Yet, the man who really did belong, had to submit to the indignity of questioning and of submitting proof, because his appearance—his clothes—did not do justice to his position.

We know that first impressions are the most important, especially in business. The man whose clothes are gaudy, ill-fitting or extreme, will find that he is not making as rapid a stride forward as his abilities warrant. Incorrect dress is a serious handicap. In the social world, it is not only a handicap, but a barrier. The oft-repeated Dutch proverb may be a bit exaggerated, but it certainly has a suggestion of truth—"Clothes Make the Man."

And so we say to the young and the old man alike, dress well. Dress, not as a fashion-plate, but with a regard for appropriate style—and with an especially keen regard for fine materials and excellent workmanship. Do not be content with an ordinary suit, but be sure that each one you wear imparts that poise and dignity which is so essential to the true gentleman. Your wardrobe need not be filled with suits for every day and every occasion ; but a few carefully selected garments, well-tailored and smartly styled will earn for you the enviable distinction of "a well-dressed man."

One might remember, to quote once again from the proverbs of the Dutch, that "A smart coat is a good letter of introduction."

THE CHARM OF OLD AGE

Youth may not claim sole possession of charm. Old age has a charm all its own—a silver charm that makes one think of mellowed roses, and fading sunsets.

A delightful gray-and-lilac grandmother, reposing quietly in the depths of a great armchair, perhaps dreaming of a golden youth—this is a picture that artists have long loved to paint. There is something strangely irresistible in old age, especially when old age is beautiful. And to make it beautiful requires only a calm assurance and kind heart combined with clothes that are in good taste and in harmony with one's years and personality.

Of course, one does not expect one's grandmother to wear the same kind of gay creations that young Miss Seventeen delights in; nor would one expect one's grandfather to flaunt the same style of suit one's son wears at college. The sound of rustling silk and sweeping petti-coats is one of the charms of the elderly lady—but an abbreviated skirt would certainly make her appear ridiculous. Similarly, the elderly gentleman finds dignity and distinction in a black frock coat, but one is inclined to smile when he appears in the jaunty black-and-white checked Norfolk suit that would better become his son.

Yes, age has a charm that is well worth striving for. There is something decidedly imposing and impressive about a handsome old man immaculately dressed; and there are no words beautiful enough to describe the enchantment of the silver-haired old lady in delicate colors and fabrics, and flowing styles reminiscent of the days of powdered wigs. Old age has its compensations; youth can never have its charming repose and calm.

THE ELDERLY WOMAN

In these days, when daughter and grandmother enjoy the same entertainments, and attend the same affairs, the clothes of the elderly woman are just as important as those of the younger. We shall describe here several kinds of costumes that invariably add charm to old age, so that grandmother may appear to advantage beside the youthful bloom of the young girl.

There is, for instance, the soft, wide lace fichu so becoming to the elderly woman—but that the young miss cannot very well wear. Combined with a dress of brocaded satin, with a full skirt that takes one back to the days of the Quakers, the lace fichu is most attractive. Then there is always the shadowy charm of black velvet and black lace. For the more formal occasions when the elderly woman wishes to be particularly well-dressed, yet not conspicuous, a dress of black velvet, with wide frills of black Chantilly lace, makes a most appropriate costume. The lace may be used to veil the skirt and as sleeves.

The elderly woman may choose any dark color that becomes her—gray, dark blue and black are perhaps the three colors most favored. There are several light colors that are appropriate, chief among them, gray and lavender. Materials worn by the woman-who-is-older are taffeta, velvet, crêpe de chine and satin. She should avoid such materials as organdie, georgette and tulle—they are meant for youth.

IMITATION AND OVER-DRESSING

Two of the most common faults of elderly women are imitation and over-dressing. Both rob old age of its charm, and the wise woman will conscientiously avoid them.

By imitation, we mean the following of fashions and styles meant for the young person. We see women celebrating their fiftieth wedding anniversaries wearing "fashionable" dresses that are in absolute discord with their years and personality. Short skirts and straight-line silhouettes may be perfectly all right, but they certainly do not give to old age the imposing dignity that is its main charm.

One instinctively respects and admires the white-haired woman whose skirts are of a length commensurate with her age and dignity, and who carries herself with calm poise. More than that, one appreciates her. But the woman who is growing old and insists upon keeping herself young by wearing inappropriate and inharmonious clothes, is merely making a farce of herself. There can be nothing more ridiculous than a woman past fifty in gown and wrap obviously created for the young person of seventeen. Instead of improving her appearance, the the elderly woman deprives herself of the charm that should rightfully be hers.

As for over-dressing, it is so utterly bad form and bad taste that it requires only passing notice. Just as simplicity enhances the beauty of youth, so does simplicity enhance the charm of old-age. Ostentation of any kind, jewels, bright colors, gaudy styles—all these make old age awkward, unpresentable and unrefined.

THE OLDER GENTLEMAN

One can be a good many years past fifty and still enjoy the theater, the opera. And one can easily retain the presentable dignity of earlier days by wearing clothes that are just as appropriate as those of those earlier days.

For afternoon wear the elderly man will find the black frock coat with gray trousers most effective. He should wear white linen, wing collar and small black tie. This costume is also appropriate for morning wear. In the evening the gentleman always wears full dress, irrespective of age.

In the warmer climates, gentlemen of more mature years find keen pleasure in the early morning and afternoon costume consisting of black and white patterned homespun jacket, slacks and waistcoat of white flannel, white linen and foulard tie. Black and white sport shoes and a light panama hat complete the costume admirably.

A TRIP TO THE SOUTH

Because it is the trip about which people are most in doubt when it comes to deciding what to take along we give here below a few suggestions about the wardrobe for a person about to start South.

To visit the balmy sunshine of the South, is to require a wardrobe that will harmonize with the lazy mood of the skies of Havana or Miami. Even though the snows may have tied up traffic in one's own home town, clothes for the Southland trip must be delicate, "summery" and flimsy. One includes a bathing suit, too, although the lake back home is frozen over.

The wardrobe one takes to the South depends largely upon the duration of the visit and the extent of one's purse. The one described here is for the average requirements of both.

For the mornings there must be several crisp, demure little frocks that are easy to launder. Bright colors match bright skies, and wide sashes are most becoming. For afternoon wear, frocks of taffeta, silk and organdie are suggested — colorful little frocks made with a regard for easy packing and attractiveness. Canton crêpe is a lovely material, especially when it is of pale apricot or Nile green — and it does not crush as easily as taffeta or organdie. A delightful frock for Southern wear is handsewn voile in a soft old rose shade. With it may be worn a large-brimmed straw hat of old rose.

Bright sweaters, sport skirts, sport coats, blouses, oxfords—all these are of course indispensable to the wardrobe for the southern visit. The number of sweaters and blouses taken depends upon the length of the visit. One should include a bathing suit, a beach coat and a brightly colored parasol. And the smart frock for evening strolls must not be forgotten.

At least one elaborate evening gown, and two or three semi-evening gowns will be necessary even if the visit to the South is a short one. And we would heartily recommend a fluffy little evening wrap to go with the gown. Then, of course, there are the little strapped slippers and the low-cut sports shoes to be considered.

One is pretty sure to be happy under the blue skies of the tropics if one's wardrobe contains a plentiful supply of gay, colorful frocks, blouses and sports things. But one need not postpone the visit because clothes seem to be expensive; common sense, good judgment and a small purse go a long way.

FOR THE GENTLEMAN

Plenty of white duck trousers, white linen, light sack coats and sports clothes are necessary for the man who winters in the South. He will find the patterned home-spun jacket very smart indeed, with slacks and waistcoat of white flannel. This outfit may be worn with panama hat, colored foulard tie and black and white sports shoes.

A brown or gray flannel sack suit is convenient for Southern wear—especially in the morning and early afternoon. It is attractive when worn with tan oxfords, colored linen and straw hat. Flannel suits are often worn with white oxfords, and sometimes blue serge sack jackets with white duck trousers.

The wise man will include a suit for motoring in his wardrobe. With it he should include a motor cap, and a light raglan coat or a coat of unshorn homespun. An attractive tennis jacket for Southern wear is of blue and black striped English flannel, with a wide roll collar; worn with white linen and white flannel trousers. White tennis shoes should be included for wear with this outfit.

For the afternoon, an attractive costume for the gentleman in the South is a single-breasted jacket of diamond weave homespun, a double-breasted vest to match, white flannel trousers and white linen. A black tie with polka dots of white, and black and white sports shoes add just the right note of smartness.

A dinner jacket and full dress suit must have place in the wardrobe one prepares for the South. Patent leather pumps should not be forgotten, nor a silk hat for the very formal occasions. Of course, there must be plenty of white and colored linen, and a generous supply of bright ties and sports shoes and hose. As for bathing suit, golf togs and riding habits, we leave these to the taste and discrimination of the gentleman who is contemplating the visit.