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The Ogden standard-examiner. [volume] (Ogden, Utah) 1920-current, December 24, 1922, The Standard - Examiner Sunday Feature Section, Image 25

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Persistent link: https://chroniclingamerica.loc.gov/lccn/sn85058393/1922-12-24/ed-1/seq-25/

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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
Shows How
Is the
Result of
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
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
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
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.
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
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.
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-
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
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.

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