The Hand-Book of Millinery - Comprised in a Series of Lessons for the Formation of Bonnets, Capotes, Turbans, Caps, Bows, Etc - To Which is Appended a Treatise on Taste, and the Blending of Colours - Also an Essay on Corset Making , livre ebook

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57 pages

English

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Originally published in 1847, this classic book offers a wealth of information on the subject of millinery. There are thirteen chapters on a wide variety of hats and design techniques, plus an added essay on the making of corsets. This fascinating work is thoroughly recommended for inclusion on the bookshelf of anyone with a interest in millinery. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing many of these classic works in affordable, high quality, modern editions, using the original text and artwork.

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Loisirs

Loisirs créatifs et artistiques

Couture et Tricot

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Publié par	Read Books Ltd.
Date de parution	28 juin 2021
Nombre de lectures	0
EAN13	9781528762229
Langue	English

Informations légales : prix de location à la page 0,0500€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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THE
HAND-BOOK
OF
MILLINERY;
COMPRISED IN A SERIES OF LESSONS FOR THE FORMATION OF BONNETS, CAPOTES, TURBANS, CAPS, BOWS, ETC.:
TO WHICH IS APPENDED A TREATISE
ON TASTE, AND THE BLENDING OF COLOURS;
ALSO AN ESSAY
ON CORSET MAKING.

BY
M RS . M. J. HOWELL,
OF REGENT STREET .

Illustrated with Designs.

1847.
Copyright 2013 Read Books Ltd.
This book is copyright and may not be reproduced or copied in any way without the express permission of the publisher in writing
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Millinery
Whereas hatmaking is the manufacture of hats and headwear, millinery also encompasses the designing and manufacture of hats. A milliner s store, predictably, is a shop which sells those goods. Historically, milliners, typically female shopkeepers, produced or imported an inventory of garments for men, women, and children, including hats, shirts, cloaks, shifts, caps, neckerchiefs, and undergarments, and sold these garments in their millinery shop. More recently, the term has evolved to refer specifically to someone who designs and makes hats, usually primarily for a female clientele. The origin of the term is likely the Middle English milener , an inhabitant of Milan or one who deals in items from this Italian city, known for its fashion and clothing.
Many styles of headgear have been popular through history and worn for different functions and events. They can be part of uniforms or worn to indicate social status. Styles include the top hat, hats worn as part of military uniforms, cowboy hat, and cocktail hat. Perhaps the most recent popular incarnation is the fascinator; a style which uses feathers, stylish materials, beads, pearls and crystals - ranging from extravagant to petite for brides, weddings, christenings, ladies day at the horse races and many other glamorous occasions.
Notable Milliners include the German born Anna Ben-Yusuf (1845-1909), who wrote The Art of Millinery (1909), one of the first reference books on millinery technique. It was formatted as a series of lessons, each dealing with a particular aspect of constructing a hat, treating the fabric or creating different types of trimming. Ben-Yusuf also set up her own school of millinery, based in Boston and New York. On a more practical note, it also advised on correct storage, renovating fabrics, and the business side of millinery, and included a glossary of terms. Subsequently, milliners such as Lilly Dach have achieved notable success. This French designer made hats for many Hollywood films and movie stars, including Marlene Dietrich, Caroline Lombard and Loretta Young. Her major contributions to millinery were draped turbans, brimmed hats molded to the head, half hats, visored caps for war workers, coloured snoods, and romantic massed-flower shapes.
Today, designers such as Philip Treacy and Stephen Jones are at the forefront of the millinery profession. Jones especially is considered one of the world s most radical and important milliners, also one of the most prolific, having created hats for the catwalk shows of many leading couturiers and fashion designers, such as John Galliano at Dior and Vivienne Westwood. His work is known for its inventiveness and the high level of technical expertise with which he realises his ideas.
CONTENTS.

1. On Drawn Bonnets-with flat and raised grooves-and Capotes in general
2. On the most eligible method to be adopted for the lining of Straw and other Bonnets
3. On the making and cutting out of Tight Bonnets with due attention to economy
4. Observations on the Adoption of Colours best calculated to suit the complexion
5. On Transparent Bonnets
6. On Widows Caps
7. On the art of Making Caps by the service of the Diagram Heads
8. On the art of forming Turbans
9. On the Hebrew, or Pontiff s Turban
10. On Head Dresses- la Cr ole-the Highland Bonnet, Demi-Toques, c.
11. On Dress Hats, and Lace Coiffures
12. On the art of Tying Bows, accompanied by distinct Rules:-Rule 1, Le N ud; 2, Le N ud la Ruse; 3, Le N ud la Diane; 4, La Guirlande la Colin; 5, Le N ud la Grecque, or Grecian Bow; 6, Le N ud Pr cis
13. On the Selection of Material, with Remarks on Taste, c.
Essay on Corset Making
Conclusion
INTRODUCTION .
M Y first little Treatise on Practical Dress-making, having met with such a gracious reception from my pupils-and, indeed, I may say from the public at large-I have been induced (by the desire of rendering my system of instruction still more complete, and at the earnest request of my friends) to attempt a second work, on Millinery, in all its branches.
Treated as an art, Millinery is deservedly acknowledged to be one of no mean importance. Painters and sculptors, in all ages, have been more or less indebted to drapery as an admirable resource for producing effect. Raphael excelled in the flow of his draperies; and the Phidiases of both ancient and modern times, have always closely attended to this particular, as being one of paramount importance.

Free o er the limbs the flowing vesture cast,
The light broad folds with grace majestic plac d-
And, as each figure turns a different way,
Give the large plaits their corresponding play,
Yet devious oft, and swelling from the part,
The flowing robe with ease should seem to start;
Not on the form in stiff adhesion laid,
But well relieved by gentle light and shade.
A cap, or a bonnet, should not be considered merely as a covering for the head, but also as an ornament, which, by the aid of judicious management, may be made subservient-as an adjunct-to render more interesting the countenance on which nature has lavished her most lovely graces. La Fontaine says: La grace plus belle encore que la beaut .
With regard to the practical part of the Art of Millinery, we feel convinced that it is so simplified in our pages, that it would be superfluous to dwell further upon the subject than to impress upon our readers the necessity of the attainment of perfect confidence-a qualification so necessary, that, in its absence, little success can be anticipated.
We will now turn our attention to matters of taste,-which ladies universally imagine is not to be acquired, and some erroneously consider to be innate. It is known, says Burke, that the taste (whatever it is) is improved exactly as we improve our judgments-by extending our knowledge, by a steady attention to our object, and by frequent exercise. It has been said that a poet must be born such: this is doubtless true, but between poetry and taste there is a wide difference. Imagination belongs to the former, observation and judgment to the latter. Taste, considered in respect to Millinery, is perhaps more reducible to rule than any other. It is our purpose, in the following pages, to explain the surest principles by which its cultivation may be carried to the highest point of excellence-at once pleasing to the eye and the most subtle vagaries of the wildest fancy. Taste is in general considered as that faculty of the human mind, by which we perceive and enjoy whatever is beautiful or sublime in the works of nature and art. Madame Dacier defines taste as: Une harmonie, un accord de l esprit et de la raison. And another French writer assures us that it is: Une raison eclair e qui, d intelligence avec le c ur, fait toujours un juste choix parmi les choses oppos es ou semblables.
As a preliminary step, much may be speedily acquired by a constant attention to the talage in the windows of the numerous modistes throughout the town; where, by closely observing not only the style, but likewise the colours prescribed by fashion, the germs of taste will gradually and imperceptibly spring up in the mind.

Thus, though to pains and practice much we owe,
Though thence each hue obtains its easy flow,
Yet let those pains and practice ne er be joined
To blunt the native vigour of the mind.
So, by allowing the ideas of the modiste to influence one s judgment for the mode of arranging trimmings and associating colours intended to harmonize, (presuming, of course, that good models be selected), the novice will find herself making rapid strides in the rudiments of taste. Observation is to the full as essential to the trimming of caps or bonnets, as practice is to their construction,-and those seeking to excel in either, will do well to exercise an equal degree of diligence in each department.
Should any lady be sceptical on this head, and feel disposed to call in question our assertions as to the possibility of taste being reduced-in a certain degree-to a code of laws, (if we may be allowed the expression), we only request her to give us a fair hearing while we argue the point according to our own view of the subject. Burke affirms: The cause of a wrong taste is a want of judgment. As the human face must always retain its peculiar characteristics in point of features-if not expression-it appears obvious that some leading principle might be adopted, that would serve as a safe guide for the embellishment of each order of countenance, in the adaptation of caps, bonnets, c. The peculiar style of either of these may be so corrected and modified as to render them individually becoming-though partaking of the general fashion. Now it follows that these alterations and modifications are but the result of properly directed taste; and, also, with regard to colours, we shall find them no less amenable to positive rules than form is found to be,-as they who favour us with an attentive perusal will soon perceive.
We purpose treating of Costume as though it were one of the fine arts,-since it forms so large a share of their very existence, and so materially aids the striking or pleasurable effects they may produce on the mind. And, surely, dress which adorns-and in some cases almost transforms-the person, and is capable of investing it with so great a charm, has quite as good a title to be