Chapter 18

For autumn wear there are camlets, alpacas, and serge of all colours, which are designated "Yachting and Sea-side Costumes," but which are suitable for all places. Their effect is exceedingly good, braided or otherwise. They may be got anywhere, though Cowes boasts of having the best assortment. We have seen white braided with black, or with a pattern printed on it in black; blue, light and dark; brown; green braided in white, the effect of which has been good; and we have seen scarlet, which is very trying, and more suited for winter. It is effective when toned down with black velvet, but it looks rather heavy and overpowering.

For winter, there are droguets, reps in worsted and in silk, merinos, tweeds, linseys, and velveteens. We do not mention silk, because it is universally acknowledged that there is nothing so well suited to all seasons. It looks better than anything else, is the pleasantest to wear, and may be procured of almost any substance. Velveteens have a very good effect--better than most materials; and when they are braided well, they are very effective. The black looks the best, and is the most serviceable; and when worn with a mantle, or cloak, or jacket to match, it makes one of the best costumes for walking or driving. The brown velveteen is effective. It is considered warm and light,--two most important qualities for clothing; for, with the amplitude of modern skirts, it is absolutely essential that materials should be light as well as warm.

For spring and summer it is needless to specify more materials than have been already named. The only point to be considered is that in spring, dress should be, in our uncertain climate, suited to changes of weather, and temperature, and should be in harmony with the season when nature is putting on her best apparel, and woods and fields become hourly more green and full of vegetation. In summer, dress should be light and cool and quiet; because, beneath a glowing sun, bright colours do not please, unless they harmonize with the blue sky or green earth.

The second important point in matters of dress is the make or cut. Upon this depends the question whether cheap materials can be worn. An ordinary stuff or calico well made, fashionably made, and well put on, is never out of place. It, not unfrequently, puts to shame many richer materials which are not so well made nor so well selected.

This question of make or cut (call it which you please) is not sufficiently considered, especially by the young.

Some people think no one can be well dressed who is not expensively dressed, whose gown is not richly trimmed; but it is a great mistake. Many persons are absolutely ill-dressed who spend a fortune upon their clothes.

The young should bear in mind that simplicity is what harmonizes best with youth, but care must be taken to avoid the simplicity of the school-room and of a "miss in her teens." We can call to mind a young lady who made her appearance at an evening party in London, where "all the world and his wife" were collected together, and when it was necessary to be somewhat smart, in a rather skimp spotted muslin, with a black belt and a few black cherries in her hair. She looked, as the reader will easily believe, like a young lady in her teens, who, as Byron said, "smells of bread and butter." She was much on the wrong side of twenty. By her side stood a young girl who had not passed nineteen summers, dressed in the freshest costume of plain white tulle, with bright turquoise blue flowers in her hair, the very impersonation of youth and loveliness. The cost of the dress of these two young ladies was about the same, but the appearance of the two was by no means the same. The one was fresh and simple; the other simple but unfresh. The one attracted; the other repelled. At the same time we saw two sisters, one a blonde and the other dark, dressed unadvisedly alike in dark blue tarlatan, with an infinite number of beads round the body, peplum, and sleeves. It was in the height of summer, and the costume looked fusty and oppressive; while not far off stood a young girl in a white and green tarlatan dress prettily trimmed with old lace and green ribbon, with one large white flower in her hair--the very type of spring and early summer. None of these costumes were expensive, but they had widely different results.

We return to our former assertion that it is the _make_ which renders a common material wearable in any,--even the very best society.

It requires, of course, a knowledge of the prevailing fashion, which may easily be arrived at by the simple process of taking in "Le Follet," or some good monthly publication on fashions. It requires also a correct eye and a good taste to select such materials as shall harmonize well with the style which is in favour. It requires, above all, a good workwoman, who knows how to cut out, how to put in the gores, how to arrange the breadths, where to put the fulness; where to make the dress full, and where tight, how to avoid creases, how to cut the sleeves, and how to put them in, how to give the arm sufficient room so that the back shall not pucker, how to cut the body so that short waisted ladies shall not seem to have too short a waist, nor long-waisted ladies too long a one. This important question of a good lady's-maid is one upon which depends the probability of being well dressed and economically dressed. It is absolutely necessary for a person of moderate means, to whom the needless out-lay of a shilling is of real importance, to make her things at home. If she cannot make them herself, she must find a clever needle-woman who has learned her business, and knows milliner's phraseology and the meaning of terms, and how to cut out to the best advantage. She will then be able to use common material, buy smaller quantities of them, and will always look well dressed. Her gown will always be ironed when it wants ironing; it will be mended whenever a stitch has broken loose; the collars and cuffs will always be clean and of the right shape and size; and no one will enquire into the quality and cost of the material of which the effect is so pleasing.

A lady's-maid that is quick and efficient is the best friend a lady can have who wishes to be well dressed and at a small expense. She saves her wages again and again. But not so with a lady's-maid who does not understand her business. If she is always requiring assistance, and cannot make the simplest gown without a needle-woman to help her, and will not attempt a smart dress at all, or who makes it so slow that either the occasion for which it is required slips by, or a much longer notice is necessary than the most fashionable dressmaker would demand in the very height of the London season, instead of being useful, she is an incumbrance. The dressmaker's bill is not avoided. A steady lady's-maid who is quick at her needle and quick with her eye, can always command good wages and a good place, and they who possess such a treasure will never be willing to part with her. Any one who has not thoroughly gone into the question would not believe what a saving it is to "make at home." It is not only that the milliner's bill is saved, but the materials which are used do not cost so much. Nor is this all, an efficient lady's-maid can clean and turn and re-make dresses so as to give them the look of new. To those who have but small incomes, it is of great importance not to be under the necessity of making frequent additions to their wardrobes, and anyone who can, by good management, enable them to wear a dress longer than they otherwise would, saves them, in the end, considerable outlay.

We have heard ladies say that nothing has provoked them more than the way in which their maids can make up for themselves dresses which they have laid aside. They can, by dint of sponging and washing, and pressing, and ironing by turning, and many other ways known to them, make their ladies' cast off clothes look as good as new, and many a lady has, before now, looked with envy upon an old dress which reappears in a new character, looking quite as fresh and attractive as ever, under the magic hand of a clever and practical needle-woman.

We maintain then, that, though the present style of dress may be expensive on account of the enormous quantity of material which is required, there is no real reason why it should be so costly as it is supposed to be. If ladies will give some attention to the make or cut and style of their dresses, the most simple materials will look exceedingly effective. It only requires judgment, good taste, and some forethought and contrivance.

We recommend as of primary importance, in order to be well and economically dressed, that people of slender means should have their dresses made at home, and should secure the services of a clever needle-woman who knows how to cut out and make, and has learned the mysteries of the art of dressmaking. With her assistance there is no reason why a home-made dress should not bear comparison with those of Madame Descon of London, or of Mr. Wirth of Paris. It is in the style, that first-class dressmakers excel. It is not in the actual needlework, which is often a very inferior affair. If, with the help of "Le Follet," ladies will give some attention to the subject of dress, and will assist their maids with suggestions and approval, they will find themselves amply repaid, not only by their own personal appearance, but also by the small outlay of money.

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V.--ACCESSORIES.

There are an infinite variety of things which are necessary in order to make a woman thoroughly well dressed, which do not come under the category of dresses. Some of these must be discussed, as they are of great importance.

To begin with bonnets. How much of a lady's toilette depends upon her bonnet!--upon its make, its shape, its style, and the materials it is made of!

In these days, bonnets are much less ugly than they formerly were. They are not set at the back of the head as they used to be, when they made every woman look as if her neck had been broken. They offered no advantage. They did not screen the face from sun and wind, and no ladies could keep them on their heads without the help of long pins like skewers. The bonnet, as now worn, scarcely deserves the name of a bonnet. It is more like a cap than a bonnet; but, such as it is, it is exceedingly becoming to the young--more especially the style which has most recently come into fashion, in which, while it ties behind, below the chignon or large plait of hair, long ends of tulle, or lace, or blonde fall round the cheek, and fasten under the chin with a brooch or a flower. The effect of the lace against the face is very preferable to that of the fold of hard ribbon which was generally worn, and which was utterly devoid of all grace. Besides which, we have heard ladies praise the last fashion as being the most comfortable, because the absence of strings fastened under the chin enables them to eat, and sing, and talk without the necessity of taking off the bonnet, or of untying it. The extreme lightness of the modern bonnet is in itself a great recommendation. But if a bonnet is intended as a protection to the head from sun, wind, and rain, then, indeed, it must be allowed that the present fashion does not fulfil any of those intentions. A small saucer of tulle, or three-cornered bit of lace ornamented with a few flowers, which fits on the head in the small space that intervenes between the front hair and the beginning of the chignon, where it stops in order that the huge mass of hair now worn at the back of the head may be fully exhibited, does not do more than make a very pretty toilette. Useful and serviceable as a protection, it is not. But when it is contrasted with bonnets which were worn a few years ago, or with those which our mothers and grandmothers wore, we confess that we are glad of the change.

No lady ought to be indifferent about her bonnet. It is to her face what the setting is to a jewel. The arrangement of the lace or blonde; the way it accords with the countenance; the harmony of colour with the rest of the dress, which in some instances it tones down by its quietness, and in others brightens and freshens by its contrast; all these are points to be considered. It is impossible not to be guided by fashion in the selection of a bonnet, and the same fashion will prescribe how it is to be trimmed, but, as a rule, we protest against beads and tinsel of all kinds. If beads must be used, they should be used sparingly. We saw a bonnet this year which was nothing but black beads, which were designated by the high-sounding name of "black pearls." The bonnet was heavy, and very ugly; and when we remonstrated against it, we were assured it had just arrived from Paris--as if the announcement of such a fact was, in itself, enough to silence all objections. But it had no effect upon us, for the bonnet was objectionable on every ground--on account of its weight and appearance.

In London, as it is necessary to have a succession of bonnets, which soon become discoloured and spoilt by the soot and dirt of our great metropolis, all that really signifies is that they should look fresh and clean, and in harmony with the dresses with which they are worn; and therefore it is important they should be cheap. To give three guineas and even more, and perhaps five, for a bonnet which will last for only one month is an expensive proceeding; and when it is considered that really pretty bonnets can be bought for eighteen shillings, which look quite as well as those which are more costly, they are without excuse who do not manage to have always one nice-looking bonnet for special occasions.

We have known some ladies who are clever and wise enough to make their own bonnets, and then the cost of them is about five or six shillings each. If the lady's maid is clever and handy, and knows how to make them, she will probably make them quite as well as any professed milliners. All that is required is to understand what fits and suits the person for whom the bonnet is intended. Every one finds that one shape suits her better than another. The next point in making a bonnet is that the "artiste" should have a light hand, and should make it "off-hand," without letting it lie about to get soiled or tumbled. Things which are not expensive, but are made of common materials, should look fresh. If they have that merit, no one will examine them very closely to see whether the lace is real, or the flowers of the first quality. Satisfied with the general effect and style, no inquiries will be instituted into the cost of the materials. People are not so particular where their eye is pleased. On the contrary, where the effect is good, cheapness increases its value in the estimation of those who know that one and one make two.

No one can make bonnets, or indeed any kind of headgear, without one of those hideous figure-heads called "blocks," upon which the bonnet or the cap is made, without risk of injury. This is the only way in which the milliner can form any idea of the effect of her handiwork. She can turn it about to get the full, side, and back view of her performance, without touching the article in question, which, if it is mauled about ever so little, soon loses its freshness.

As we have long ago discarded the picturesque from bonnets, and the famous "chapeau de paille" has been laid aside, there is an advantage in the fact that the present style is unobtrusive; and strong-minded women who cling tenaciously to their beloved old coal-scuttle shape, and deride the present fashion, indignantly exclaiming against it, "Call that thing a bonnet, indeed?" certainly tempts us to reply to their prejudiced and absurd reflections, "Physician, heal thyself;" for if there is one thing more ugly than another, it is the old-fashioned bonnet with crown, curtain, and poke, to which a few old maids rigidly adhere--just as Quakeresses do to their hideous and antiquated style. There is a kind of self-righteousness in the protests of these ladies, with which we confess that we have no sympathy. We do not mean to recommend them to adopt the bonnet of a girl of eighteen, but we do advise them to conform to the fashion of the day, and wear a modified edition of the present and prevailing costume.

It is remarkable how straw always retains its hold as a material for bonnets. A straw bonnet, is, however, a more expensive article than one of tulle; but then it is more enduring, and better suited for country wear. There is also another advantage in straw: it never looks vulgar. A country lass in a bonnet of silk, or lace, or tulle, does not look one-half as well as one in a straw bonnet, neatly trimmed. Straw is becoming to persons of all ages and of every station. It makes a vulgar woman look less vulgar, and the lady more refined. Though common, it is never so in an offensive sense.

Caps have become an important item, from the fact that women of all ages wear something of the kind. The young girl who has passed from girlhood into matrimony, considers it necessary that some of those little caps made of lace and ribbons and which have such a coquettish look about them, should form part of her trousseau. She is as glad to exercise her new privilege of wearing a cap as an undergraduate is of wearing his cap and gown. It is a sign that she has passed to what she considers the higher state, although she knows that there are many high authorities for the contrary; but she remembers that "doctors differ," and she hails her privilege as one to which she has been always taught to look forward.

What can be more becoming than some of those jaunty caps which seem to mock at age? Here, again, we have a manifest improvement in the head-gear of ancient times.

Think of the turbans, the gigantic hats and caps of blonde which were made to stand erect by means of wire, and which surrounded the face like fans at full stretch, or (more gracious simile) like the nimbus round the head of a mediæval saint.

Contrast these with the little caps which ornament the head with lace, as only lace can ornament it, and you will see at once how superior the present fashion is. It is not only that these pretty and mysterious fabrics of lace and ribbon are an ornament to the loveliest and most youthful; but they have worked a revolution in the caps of elderly ladies. Instead of the cap with its frill of blonde intermixed with narrow ribbon or small flowers, fitting close to the face like a fringe and tying under the chin, we see small and becoming head dresses of lace, which sufficiently furnish the cheeks and cover the hair. Where it can be done, the cap of the most elderly woman should appear to dress and furnish her head rather than her face, though, if need be, it can be made to soften the asperities of age where they have marked the countenance.

Mantles or cloaks are a difficult question.

When everybody of every station wears a cloak or mantle we are disposed to recommend shawls, especially as a really good Indian shawl cannot be imitated, and denotes the quality and condition of the wearer. Every servant girl, every maid of all work, has her Sunday cloak. None but the rich can sport an Indian shawl. It requires falling shoulders and a tall and graceful figure. It should not be fastened round the throat as if the wearer suffered from a severe cold in her throat; but it should have the appearance of being loosely put on; neither fastened tightly on, nor falling off. Square shawls are always more ugly than not. If the wearer has not a very erect carriage, and if her shoulders are not well thrown back, the chances are that the effect of a square shawl will be anything but pleasing. If the lady stoops, or is at all round-shouldered, the shawl will have the effect of a window that has been cracked by a stone--it will look starred--it will not be smooth and even, but will present the appearance of lines radiating from the defective shoulders. For grace there is nothing like a scarf shawl, but only a few can, or know how to, wear it.

Under these circumstances a cloak or a mantle are safer. There is an infinite variety to choose from, but as the names and the fashion vary year by year it is useless to specify any. For the same reason, this constant change, it is best not to invest much capital in the purchase of one. Young people can wear smaller and shorter mantles than their elders, who require something larger and more imposing.

In winter there is nothing to compare to a seal skin; so much so that even an imitation is not to be despised. Velvets are ladylike, but they are expensive, and have not the durability of a seal skin. Velveteen cloaks are good and reasonable. Blue cloth or serge, braided with black, look well, and have been in favour for some time. We have seen a grey cloth cloak braided with black which has been much admired; also one of dark green cloth lined with grey, and, vice versâ, of grey lined with green. For winter, the effect of lining a cloth cloak with another colour in good contrast is decidedly good. But everything depends upon the shape and cut of the cloak. It is the shape that tells far more than the material.

In France we find gloves and shoes have a prominent place among the accessories of a lady's toilette. To be "bien chaussee et bien gantee" is essential to being well dressed. Good, well fitting gloves and shoes tell more than most other things among the French. At least a somewhat shabby and unpretending gown and bonnet, if accompanied by gloves that are of a good quality and colour and that fit well, and by shoes or boots that also fit well, and are of good style and make, will pass muster anywhere, while the reverse will fail.

It is remarkable that there is nothing which distinguishes a foreigner from an Englishwoman more than her gloves. They "fit like a glove;" they are of a good colour, according well with the rest of the costume, neither too light nor too dark, but rather light than dark. There are no ends or corners of the fingers which are not well filled; there are no creases indicative of the gloves being of a wrong size, nor are they put on crooked with a twist given to the fingers, so that the seams of the glove do not appear straight. In short, a Frenchwoman does not put on her glove anyhow as an Englishwoman does. To her it is a matter of great importance; to our country-woman it is a matter of indifference. We think the Frenchwoman right, because it is by what are called trifles that good and also great effects are produced.

We come now to an accessory of considerable importance--the hair. As a great amount of time is expended upon hair-dressing, and as no one ever thinks of wearing it in its natural state, and as nothing is more under the influence of fashion than the hair, it has become by consent of all an accessory of great importance. Will any one affirm that it is a matter of indifference how the hair is dressed? Whether in plaits or bows? Whether in a crop, or twisted up in a coil? There is nothing which affects a lady's personal appearance more than the style in which she dresses her hair. We confess that we have a strong prejudice against a too submissive following of the fashion. Because in the first place we deny that fashion is always in the right, and in the second it rarely happens that the same style exactly suits two persons alike.