Textiles and Clothing by Kate Heintz Watson (good books for 7th graders txt) đź“•
[Illustration: FLY SHUTTLE HAND LOOM.
The Pulling of the Reed Automatically Throws the Shuttle Back and Forth and Works the Harness, Making a Shed at the Proper Time.]
[Sidenote: Primitive Fabrics]
No textiles of primitive people were ever woven in "pieces" or "bolts" of yards and yards in length to be cut into garments. The cloth was made of the size and shape to serve the particular purpose for which it was designed. The mat, robe, or blanket had tribal outlines and proportions and was made according to the materials and the use of common forms that prevailed among the tribes. The designs were alway
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Those at all skillful with the use of the needle can attain the most beautiful and artistic results if right laws in color and design are adhered to, even by the use of the simplest stitches, for the beauty of dress lies not so much in the richness and variety of material used as upon simplicity and harmony—a fact too often disregarded.
Perhaps no ornament is more abused than the bow. In order not to appear intrusive, ribbons require the most delicate handling. The only excuse for a ribbon as an ornament is when it makes a pretense of tying. When used as a sash where folds or gathers are confined, the tone of the ribbon should, in general, vary scarcely from that of the dress.
Whatever the ornament used, whether embroidered band, a ribbon, a cord that laces, a diamond pin, or a jeweled buckle, though it may possess great intrinsic value and beauty, it cannot be considered of real worth as an ornament unless it fulfills the most important condition—fitness of place.
Although the art of dress admits of innumerable variations, like all other arts it is subject to the three rules of beauty—order, proportion and harmony.
Ornaments are appropriate on the hems or edges of garments where it serves the purpose of strengthening and protecting the parts most worn, and not simply where fancy or fashion dictates.
The natural fastenings and fold centers should be along the axis or center of the body. Any jewelry, buckle, brooch, or ornament used to fasten, secure, or strengthen these centers or to hold bands of embroidery, collar, or folds together should be sufficiently strong to serve the purpose. There must be a reason for position and the purpose of its use must be apparent to satisfy the eye. The eye is unconsciously and irresistibly drawn to these natural centers and demands some object there on which to rest—some substance from which the fold emanate—some reason for their detention. If this ornament at the throat or waist fastening collar or holding folds by a girdle or clasp is omitted, the eye is disappointed. This does not mean that the ornament, jewel, passementerie, or embroidery should always be placed in the axis or central line of the figure—this may be carried too far. Slight irregularities often give an effect to hat or gown that is charming.
Remember that trimming is not intended to cover up, but to beautify and strengthen. When, for economy's sake, it is used to cover worn places or other defects, it must be selected and applied with great care or it will loudly proclaim its mission.
Trimming should mean something—whether jewelry or passementerie. Bands that bind nothing, straps, bows, buckles, or pins that confine nothing offend the taste. A girdle should seem, even if it does not, to belt in fullness; it has no use on a close-fitting, plain waist. No draperies should be invisibly held; supply some apparent means of confining the gathers. To preserve the lines of the figure there should be unity in the dress. A tight-fitting skirt below a gathered waist or a full, gathered skirt below a plain waist gives the appearance of two portions of the body instead of the oneness desired.
The figure should never be cut across, either above or below the waist-line with contrasting colors, different shades of the same color, or bands of different texture. Below the waist-line the figure should suggest the elements of strength and these horizontal bands cut the lines of the figure at an angle of opposition, destroying the rhythm and grace of the lines.
Much experience is required in placing horizontal lines of ornament on a skirt effectively. In general, rows of tucks or ornament should diminish in width from the bottom towards the top. The plain spaces should be greater than those ornamented. When ornament gives absolute evenness of space division in skirt or waist the effect is apt to be monotonous and unsatisfactory.
The natural places of support for garments are the neck, shoulders and waist. Ornamentation which emanates from these centers or when used for borders, if appropriate in design, is usually successful.
ORNAMENT OF TEXTILESIn addition to ornament added to garment, the ornament in the textile itself must be considered.
Textiles may be beautiful in weave, but spoiled by the design. Quite as important as intrinsic beauty is appropriateness of pattern. How often do we see woven on our curtains, carpets, and garment materials fans, bunches of roses tied with ribbons—bows with long, fluttering ends—landscapes, snow scenes, etc. Nothing is beautiful out of its place. A fan suggests coolness and grace of motion, but woven in our textiles it gives the same impression as a butterfly mounted on a pin—something perverted, imprisoned, or robbed of its natural use. Nothing is or ever can be beautiful without use—without harmony. Decorations on textiles are not to tell stories. There is a difference between landscape painting and using landscapes as a motive for decorating textiles or pottery. In one case the aim is to annihilate surface by producing the impression of distance; in the other, the object is to glorify the surface only.
For the woman of limited income it is wiser to select plain material of good texture and weave. Such material is never conspicuous, can be made over, and is always restful and may be interesting. Any good textile must impress itself upon the mind by its suggestiveness and beauty of color. There is a difference between what may be called artistic and decorative embellishment of textiles. Each has its place in the world of beauty, but one is the poetry, the other the prose of the art.
There is a dignity and restfulness in plain material which is never obtained by varied patterns. When a stripe is used to vary the material, the style of the textile is changed, elongated if the stripe is vertical, and widening if it is horizontal. If the main stripe is cut at right angles with a second stripe, the textile appears more complicated and repose is lost. The same is true of checks, but no pattern is more distracting than large plaids, especially when used for waists, because the regularity of the design renders very conspicuous any inequalities in the shoulders or bust, and the great variety of colors detracts from the dignity of the dress. With small checks and narrow, self-colored stripes the effect is different, causing the texture to appear only shaded and not destroying the unity.
On garment fabrics the ornamentation should be flat, without shadow or relief. The pattern must enhance and not mar the figure. If flowers, foliage, or other natural objects are used for the designs, they should be conventionalized—not direct copies of nature. A figured textile requires more careful planning than plain material. It may be beautiful when used properly, but it will appear hideous if distorted in the making. A conventional fleur-de-lis pattern, or a long dash which appears and disappears when used in long, graceful folds, adds to the apparent height. These same figures wrongly used spread out awkwardly or become distorted.
The size of the design should be regulated by the material—small patterns being used for close, thick fabrics and larger designs, with more delicate colors, for thin material of open texture. Thick, heavy fabrics require rich, warm colors and the pattern likewise should be rich and decorative. Velvets, velveteens, and heavy cloths for dresses are beautiful in themselves and should not be marred by patterns or trimmings.
Spirals or curved lines running crosswise on textiles distort the natural curves of the figure by making seeming undulations where none should be and accentuating the prominence of hips and bust. Such patterns should not be used in folds.
COLORMuch is to be considered in choosing colors and it is folly to suggest a particular shade for a person without taking into account texture of the textile. Though the color may be good, the weave may destroy what might otherwise have been a success.
Not only must color in itself be studied, but quality of color in textiles as well. A shade of red, for example, in dull silk or lusterless material may be most unbecoming for a woman of a certain type, while it may be worn successfully if made in rich velvet or glossy silk.
Some women maintain that they cannot wear green, but nearly all can dress becomingly in this color if the shade and texture is selected carefully. The same may be said of other colors for the many variations should be taken into consideration.
The average woman in selecting materials for gowns or house furnishings is apt to be influenced too much by details, as she would judge the merits of a fine piece of needlework, hence the value of good, broad color schemes fails to appeal to her. The chenille curtain, perhaps, suits her because it is full of complex decoration.
After having determined the prevailing color of a costume, the details should be in harmony, rather than in contrast with it. Different tones of one color are more satisfactory than striking contrasts, and even strong patches of light and shade of the same color should be avoided, as well as patches of crude and vivid color. The pleasing contrasts found in nature cease to be happy when attempted in textiles.
Use few colors, avoid bright shades except in small quantities. All bright colors should be placed near the face, rather than on or near the bottom of skirts or the edge of sleeves. Avoid strong contrasts; the brighter the color and the greater the contrast with other colors, the louder and cruder will be the effect. "No color harmony is of a high order unless it involve indescribable tints."
CHILDREN'S CLOTHESPlainness, purity, softness of texture rather than elaborate ornament should be the main consideration for infants' clothes. The finest and softest of French and Scotch flannels, French linen, dimity, nainsook, and India silk are always dainty and they should be made up very simply with little trimming, but that of the finest.
Hems and seams should be small and neatly done with, perhaps, the daintiest beading inset by hand and feather stitched. Hemstitching is always beautiful, but makes a weak spot which is apt to give out in the constant laundering necessary for children's clothes.
The skirt and shirt made in one piece, with sleeves to slip into the little outside garment, both to open down the back so that all may be slipped on at the same time without worry to either nurse or baby, will be found a great convenience.
Stockinet or webbing, all wool, partly wool, or all cotton, is preferred by many to the plain cloth. The cotton is non-shrinkable, easily made, and finished. This garment fabric has reached such a high degree of perfection that for infants and children of larger growth nothing better can be desired for shirts, skirts, drawers, and tights. It may be had in either light or heavy weight, is easily laundered and elastic, having all the qualities desired in undergarments. Garments made of this material in the manner described give perfect freedom for all organs, besides evenness of covering for the body and lightness of weight—all important considerations in infants' and children's clothing.
There should be the same simplicity in construction and material in the garments of children of larger growth. The design should be smaller, more realistic and the color brighter than for grown people.
For children's dresses, the pretty ginghams in small checks, chambray, dimity, serge, flannels, cashmere are appropriate and serviceable.
In making up these simple materials nothing better can be suggested than the
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