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J THE OGDEN STAHJARD-EXAMINER
I I m I Ji 4 ill -111 J' '"r-'r.K ...,, B. S Hfo of the A'cif Fork Sctool 0 Fins :!S and Appiiad Art (In an Interview) ' othes, anj how ? There f are just three legitimate rea- 1 ons ior the custom. I Pt, the instinri for shelter. But I instinct is rot active. If it were, JM would not be putting on fur F. binding uo Me,,- heads and their f bodies down to their knees and ut practically barelegged and j in mid-wintar. P second reason is found in the in F 'or privacy. Eve conceived th 11 At different times in history it "en apparent in the concept of ft . "' .ell, judge n rBnelf W third. ,;P most important I n of il it the universal desire for I fcr nd' strane H ifc m&y see. I Ter' 'oraan believes she Pained tha. desire when ehe has r 'herself In accordance with the M W oidair., , t- riiQns UoVf far her P usually i, fr,, the truth can I Fn by comparing the result with I it"1 VCl1 known principles of art. I EL CIC troublc with women's seems to be their wearers' of art and tho best means of P that everything bearing the fash Kje trd?mark is really beautiful. I LJ'!1Ufttt'' w'onian In the wide hat W "h vegetables, the one who P niKfi-heeled jeweled .slippers with I U 8Prts clothes, and the mon- I kt Vl ' " vei to yj fcDl ir,cnes her knee arc good fi of :-; - vaj the feminine f lit d awa' from true art by the f of fashion. I Ll1Cderst'5,J "hats wrong with lift8 Clcthe?" we must first get at the A ind' eaning r'f ;,r'L J,,c:' v'hat fcj ls the answer in materials to jjHJLn?l!s!- Th- :,ri ..f the temple Be j'3 ;'r'-a:-v perfection among ek. because temples were what J'fcded and thought about. The On the left, a striking example of the highly satisfactory combination of common sense, practicality and art in sport clothes; and below a sport suit which Professor Pnrsons cites as typical of the inappropri ateness many women show in their choice of clothing ' 1 Professor Parsons Shows How Ugliness Is the Result of Following r US MO 1 1 8 Dictates Instead of the Standards Set by Art art of the salon was supreme in the eighteenth century because that was what the people wanted. In our day we must look to our movies and auto mobiles, telephones and radios, clothe? und other features of every-day life for our art. Of all the various forms of art ex pression clothes are the most vital be cause they aro the most personal. If we are to give ourselves the highest artistic expression they are the first problem that needs to be attacked. After seeing a short, wide woman wearing s broad, flat hat with a yoke dress, a colored belt, a skirt stopping at the knees and light colored stockings tho whole arrangement reminding one of nothing less than a closed concertina--the need for the attack becomes urgent. Most women do not seem to realize that to be artistic clothes must fulfil! the twofold purpose of art fitness and beauty. Fitness really is the founda tion of taste, and taste is what we are accused by other nations of not havinfr. And there is much ground for the ac cusation. As for beauty, wo are accused and also with reason of not knowing it when we see it Beauty is governed br certain definite principles. In order to make ourselves beautiful we should know the Language of beauty under stand the laws that regulate Its expres sion just as we do in the case of music and arithmetic. But the only principles underlying most women's clothes nowadays are those of fashion. These "principles, as every one knows, are dictated by greedy commercial interest. Styles are originated not because of their inherent beauty, but because they help to dis pose of surplus goods or make women buy new one. Henco the long, draped skirts that use up yards and yards of m.mf material and make short onc usel Fashion's great ally is the fact that everybody is governed more or less by fear. The average woman would rather take a chanco on the hereafter than on being called old-faahioned. Another ally of fashion is vanity. Ther 1 isn't a human being who doesn't revel in hearing Borne one 6ay ''Isn't she chic'.'" or "She had the very latest thing in a coat." Fashion knows all this, and a lot more. She never fails to expk.it her self, and in doing so destroys the in dividual common sense of the woman in matters of taste. Fashion should be the handmaid of woman, and not woman the catspaw of fashion. In every period where there has been any great art it was usually in stigated, or at least sponsored, by wom en. Through their clothes they inspired the art instinct, and artists began to create for them in clothes, and thus art grew. Personality is tho first thing to be considered in connection with clothes They should not only enhanco it and make it moro effective but also make a human being a3 nearly ideal in propor tion as is possible under the circum stances. Any fashion that distorts human pro portion is a violation of one of the fun damental principles of art. When you move tho waistline four inches above the knees und emphasize it with a chain it may be fashionable, but it certainly 1 n't artistic. Lines that is, directions created on human body by plaits, insertions, hen IS, changes in color, etc. aro valu nbh in preserving tho human proportion. Horizontal lines Increu'-e width and de crease height at the samo time. Con versely, vertical ones increase height end decrease width. i - Perhaps nothing in art is less un derstood than the word decoration. . 'I here are certain fundamental laws on decoration which were given by I eonardo da Vinci, and they haven't been much improved upon. First, he says, "There must be a crying need for decoration before any decoration should be used." It would seem possible to have certain pots on the human body left blank ind unadorned without any notice able cry of pain on their part. The prevalent mode of sticking on jeweled pins, hnnd-embroi.icred panels, hair ornaments, vegetables on hats, etc., should be judged by this rule. Second, "Decoration should never J interfere with use." Shoes in which one cannot walk, dresses in which one cannot step, clothes in which one - nnnot breathe and hats that nobody can see past would seem to como under this law Third, "Decoration should follow structure." The human figure appears to be bounded by curved lines! We should follow these lines as much as it is pos sible to do so, without overdoing the matter, and thus be within this law. Di agonal linos from one shoulder to the ither, zigzag laces, insertions and vari ous applied trimmings whose lines seem to be struggling to find where the lines of the human body are going to all these are inharmonious and therefore Inartistic. Fourth, "Decoration should be applied at the point of particular interest where the attention is to be directed." Can this be the reason why so many women wear white shoes with black clothes, gray stockings with dark blue dresses, huge pendanis stopping at the abdomen and bright-hued stockings with clocks on them? Color is perhaps one of the most im portant elements In the art language. But it is one that has been little exploit ed in America, except from the point of view of "what I like" or what Fashion dictates. Every tone of color has some thing to say which is distinctly its own. ffl r-:i-; j mmf ! L street hat with senseless decora tion, bad Tr.e end oi a type to accentuate the idiosyncrasies of the wearer's face and hair People do not usually think of fire, an August sun or the athlete's blood as being baby blue, pink or mauve. We aie so constituted that red excites, irritat as and arouses, and it should be used 10 express that idea. Tho quantity of it, well as the character of it, is tho impor tant thing. It is a commonly accepted idea that brunettes should wear red, but sin-e carmine or blue-red, and a scarlet r orange-red, express widely different feel ings, a woman must first ascertain -..bet her her hair and eyes and her com plexion whether real or artificial are of the orange-brown or tho blue-black hue. Obviously she should choose the color nearest her type. The blue-black one with tho raven hair should wear crimson, while tho one with the orange brown hair should wear orange. Pink is diluted red. Youth, femininity und lack of maturity are expressed by this color. Put pink on a woman past her first youth whenever that stops -and observe the effects. Black absorbs color, white reflects or nates it. Many people haven't sufficient facial color to wear black un- On the left, a costume which was I once thought fashionable but which Professor Parsons says is by no means necessarily beautiful; and be low the same woman dressed in a way that is a great deal less objec tionable, everything considered relieved by white. Probably this is why all men are standardised by white col- lars. The old law of backgrounds is still active, and people of taste see this rela tionship as essential. "Backgrounds nust be less intense in color than objects I own on them." Wallpapers and walls of paneled silk whoso color appeal i? th intenseat possible are hardly a fit setting I for the face and figure of an ordinsry Woman, even when aided by the modern nity box. Pictures and furniture fad 1 Above, a street hsl wSiich Professor Par sons pronounce; 9(ri& able in material, in teresting in propor tion and line " cance and the person disap pears. Some peopln know that when a picture is framed with a frame stronger i'i appeal than the picture it lelf there seetns to be a lack of la.-.te either on the part of the owner or the framor. T h e same is truo 0 clothes. The bat, the coat and dress, par licularly for urect wear, are frames for the human face and figure. No lady cares to expiou her clothei or become a special objoc; of interest because of thorn. Street, shopping and church clothes should he seen only dimly and should on no ac- count be heard. j j Perhaps woman's most vulnerable point is that of hots. To consider "'what the hat is for" seems never ti enter the j mind. It should be u protection, not in obstruction. It ought to be a consisten ' aggregate, and not an expression of the 1 1 animal, vegetable and mineral kingdom I from the standpoint either of botany or 1 1 zoology or affluence. There seems to be j! an impression that all women become 1 paradise birds when they wear paradise feathers. This is a fallacy. In the final onnlysis it comes down to tHs: Clothes aro tho most personal of all individual expressions. Therefore, they ! are the most important indications of taste and common sense. Women who have neither use neither. There will b? no change for better or worse in matters of expression in clothed unless there is change in the mental attitude. Undoubtedly one of the strongest mo tives for all tho pains and money expend ed on women's clothes is the appeal they are supposed to make to men. Iu my be lief it is a nustako to think they havo any such appeal. After haviug carefully discussed tbfl matter with thousands of men I have como to the conclusion that the sex is practically unanimous In thinking itself capable of deciding what it likes in a woman without having those quali ties publicly expressed In her manner of dress.