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Colours to suit certain complexions.
For our purpose we will divide the complexions into two classes, the dark and the fair, or the brunette and the blonde. As a general rule it will be found reds and yellows suit dark people best, and blue is the colour which shows off the fair beauty to the best advantage. Black, white, and grey suit all people; a soft deep black, such as velvet, will set off a blonde; whilst a bright black, such as black satin, will set off the brunette. White, and all those colours which reflect the most light, have the effect of making people appear larger than they are; whilst black, and all colours which absorb the light, make people look smaller, and consequently a stout person would appear to best advantage in a black dress of dull material: whilst, on the other hand, a little woman would be seen to the best advantage in a white dress made from some brilliant material. Before quitting this subject we must not omit to point out
The importance of accessories
And details of a costume: such, for instance, as head gear, gloves, parasol, shoes, &c., which must not only be in harmony with the costume, but combine with it the complexion, the colour of hair, eyes, &c., to form the complement of colour. Many a firm has made a lasting reputation by attention to such details: and if we would follow in their footsteps, we must attach due importance to these matters, and study them accordingly.
The effect of pattern.
Colour helps to give expression to form, and probably the pattern of material is the best illustration we can give of this: and as different styles of patterns have different effects, independent of the colours embraced in their formation, it will be well for us to examine this phase.
Stripes add length in whatever direction they are running, they are nearly always popular running vertically, as in Diagram 128, as in that way they add height to the figure: they are seldom used horizontally or running round the figure, as Diagram 129, as in such a manner they make the figure wider and shorter (a reference to diagrams will illustrate this, the circles having the appearance of being slightly oval by elongating effect of the stripes). They are sometimes worn on the bias, but they are then apt to give the figure a one-sided appearance, a twisting corkscrew effect being produced. They are especially suitable for short stout people when arranged vertically, though in extreme cases it is always best to avoid very prominent patterns: stripe in such a case should be dark and neat.
Checks add width to the figure, without increasing the height: they also show up the slightest difference in the sides, by cutting the figure up in squares. Prominently checked goods are only suitable for very fine types of figure, though small and neat checks may be used by the ordinary run of people without disadvantage, as owing to the distance from the onlookers eye, the effect of the neat check would be the same as a self pattern. In all cases of doubt, select quiet neat patterns and on toned colours. A plain twill or bird's-eye check suits well nigh everyone, as also does black, white, and grey. This brief glance at colour must suffice for this work, those who are desirous of studying it more deeply may get works especially devoted to its explanation. We now pass on to deal with
Ornament.
The five principles of ornamentation are as follows: repetition, alternation, symmetry, progression and confusion, and it is to one or other of these primary sources that all ornamentation may he traced, and in order to fully illustrate, we give diagrams of the various modes as applied to braiding designs, considering that the most suitable for the purpose, though any other style of trimming may be subjected to the same laws. Let us briefly glance at
Repetition. Diagram 130. Plate 46.
This is the simplest method of decoration, hut at the same time it is one of the best. It is the method nature uses more than any other. Every thing that appeals to our senses acquires an astonishing power by repetition, and so with the style of braiding illustrated. A single eye of braid would be hardly noticable, but the repetition adds force, and shows at once the design has all the elements of beauty, viz., unity, order and proportion. Architecture, sculpture, painting, music, literature and poetry, are all embellished by repetition, indeed, there is no principle which appears more frequently either in the works of man or the works of nature. Consonance is the secondary element of repetition, by it we mean the repetition of idea rather than the actual reproduction. Take for instance the flaps on a Reefer or Lounge: they are made in consonance with the front, that is, if the front is rounded away, the flap is done ditto, and so on: this will explain what we mean by consonance.
Alternation & Contrast. Dia. 131. Plate 46.
Variety is one of the great laws of the universe, and alternation is a blending of variety and repetition This will be gathered from a reference to diagram
