Motoring Clothes
Fashionable ladies - 1920's
New fur set, in Natural Skunk
NEW FUR SET, as sketch, in Natural Skunk, worked from dark selected skins, recommended for hard wear. Special price, STOLE, 19-½ Gns. MUFF, 12-½ Gns. 29 Gns. the Set. Actual value, 39 gns.
New model fur coat
New model fur coat
Useful Fur Coat
USEFUL FUR COAT, as sketch, in good Seal Musquash, made from reliable skins, lined new striped chiffon taffeta silk. Price 13-½. Gns. Actual value. 19-½ Gns.
The Rimasop Trench Coat
Made by the old-established Bond Street House of Rimell & Allsop, this coat embodies the suggestions of British Officers who have fought in France and Flanders since the beginning of the War. War experience has proved its practical value. Officers are invited to avail themselves of the experienced services of Messrs. Rimell & Allsop in the selection of any kit, either for Ceremonial occasions or for the Front. A 16–page booklet will be sent post free to any address by Rimell & Allsop, Sporting & Military Tailors, 54, New Bond Street, London, W.
Young lady - 1920's
Young Lady - 1920s
Walking Dress
Walking Dress
Early Victorian
Young Lady - 1920s
Young Lady - 1920s
The bloomers and middy blouse
The bloomers and middy blouse
The simple dress skirt and shirt waist
The simple dress skirt and shirt waist
Fashion 1920's
Fashion 1920's
Woollen Check - 1920's
Woollen Check - 1920's
Lady in scarf and hat
Lady in scarf and hat
Fashion 1920's
Fashion 1920's
Fashion 1920's
Fashion 1920's
Fashion 1920's
Fashion 1920's
Fashion 1920's
Fashion 1920's
New Moleskin Set
NEW MOLESKIN SET, as sketch, worked from full selected British skins. Special price, STOLE, 69/6 MUFF, 45/6 5 Gns. the set. Actual value 8 gns.
Fashionable lady 1920's
Fashionable lady 1920's
New model fur coat
NEW MODEL FUR COAT, as sketch, in Natural Musquash, worked from reliable skins, with handsome skunk collar and handsome belt at back. Price 16-½ Gns. Actual value 25 Gns.
Two looks - same pattern
Would you believe that the pattern of these two dresses is exactly the same? This illustrates how you can vary a dress once you find the foundation lines that are becoming to you. One pattern can suffice for both a tailored and an afternoon dress, as you see both effects are pleasing in their slenderness.
Choice of fabric 1
These two pictures illustrate improper and proper choice of fabrics for a stout figure. Above, the large-figured material adds size, the fur trim shortens, the round beads shorten the neck. All conspire to emphasize weight.
Optical Illusion in dress
Now see how the woman in the other picture has unknowingly emphasized her stoutness while the one in this picure has properly gained a slender effect by using trimming in accordance with the principles of these optical illusions.
Optical Illusion in dress
The oblique line in the figure is made to seem longer and more graceful than the dress below by the parallel vertical lines of embroidery which intersect it and so emphasize its appearance of length and grace.
- Optical Illusion in dress
Note the diagonal line in the small diagram of the figure below. It is actually straight, but the vertical lines which break it give it a “going-down-steps” appearance. This principle is used in the dress below—the two vertical panels of trimming break the line of the tunic and give the whole figure a more slender appearance than in the figure above.
Plaits 1
When styles call for plaits, plaits may be used, but not in widening flares as shown here, rather in slenderizing length lines as shown below
Optical Illusion in dress
These two diamond-shaped figures are exactly the same size. The crosswise line makes one seem wider, the vertical line makes the other seem narrower.
- Plaits 2
Hats and shoes in these two pictures also illustrate incorrect and correct choice. The wide hat and prominent straps below emphasize width and weight; the neat hat and cross-strap slippers here help to slenderize - Optical Illusion in dress
The middle lines in the two small diagrams are the same length. But on the left, shorter accompanying lines seem to shorten the one between. On the right longer accompanying lines seem to lengthen the one between. - Optical Illusion in dress
Now note how these same principles used in the dresses above effect the apparent size and weight of those wearing them, making one seem much stouter than the other. 
Optical Illusion in dress
Here, also, are two vertical parallel lines. They are straight—test them—but the other lines radiating from the center, make them appear “bowed.” In the dress above a similar design makes the wearer appear stouter and heavier than she really is.
Optical Illusion in dress
These two illusions are almost duplicated in the dresses above. As a result one woman looks shorter and heavier, the other taller and slenderer than she really is.
- Optical Illusion in dress
The two vertical lines are exactly the same length—measure them and see. Short lines turned back at either end make one seem short; extended lines make the other seem longer. - Optical Illusion in dress
These unbroken parallel vertical lines give the definite impression of height. This principle, used in the design of the dress above, lends it a pleasing slender appearance because no other lines interfere with the straight line effect. 
Hats 2
Here trimming is used on two entirely different types of hats to give in each case added height to the figure and help in attaining a slenderizing appearance. Left—Hats with medium brims and high trimming are often becoming, especially if wide enough to avoid the pyramid effect. Right—High built trimming and delicate veils are advantageous where a double chin is the handicap.
Hats 1
These two examples show how even a hat with drooping brim, if not too wide, can be worn by the stout person if trimming is adeptly used to direct the vision upward and lend an illusion of height.- Choice of fabric
Here a small all-over pattern minimizes size, the plaits and tassels lengthen, the necklace adds a slenderizing touch. The appearance as a whole is graceful and youthful. 
1916 Woman
The shimada and ‘rounded chignon.’
For young women the formal coiffure is the shimada, so called from the name of the town on the high road between Tokyo and Kyoto, where it first came into fashion. In this the hair is gathered and tied tightly at or near the crown together with a large tuft of false hair. The tip is folded in forward; the hair is then folded twice in the same direction as the tip so that the edge of the fold is half an inch or less behind the knot; and the whole is turned over the knot in such a way that the edge of the second fold is forward of the crown. Then, by a string passing over the knot the fold is tied down. The chignon is formed by spreading out the hair; sometimes a piece of paper, of the size of the chignon, is well pomaded and put under the surface of the chignon to help it to keep in place. The size of the chignon varies with the wearer’s taste; but, generally speaking, a young woman’s is larger than her elder sister’s. Its position too varies, as it depends upon that of the first knot, whether over or behind the crown. In the formal coiffure of a young lady of social standing it is close to the crown; but girls in a lower station of life or anxious to be thought chic prefer the chignon to be more to the back of the head.
Young girls’ hair
Newly-born infants are shaven; but as they grow up, a little circle at the crown is left untouched. At first the circle is small, but it grows larger with years; and at six or seven, boys let all their hair grow and crop them when too long, just like their elders. Girls, before they leave this “poppy-head” stage as it is called, have little queues on the crown, tied less closely than men’s in the old days. Next, at ten or more, they have their hair done in a more complicated manner; sometimes the tresses are tied together at the crown and made into bows, and sometimes the hair is gathered at the top and parted into two tresses, right and left, which are made into vertical loops, joined together at the side, the joint being covered with a piece of ornamental paper. It has of late become an almost universal custom with school-girls to tie their hair with a ribbon and let it down loose or plaited on their backs.
Inverted Maidehair
Japanese Hairstyles
Troublesome as was the man’s queue in the old days, it was a trifle compared with the woman’s coiffure. In the early days of the present regime when men began to cut their hair, many women followed suit and cropped theirs as short. The government, however, interfered and prohibited the cutting of the hair by women other than widows and grandames with whom it was a time-honoured custom. In 1887 when the pro-European craze was at its height, many women tied their hair in European style; but it was subsequently abandoned by those who found that by tying the hair in this manner, they spoilt it for the Japanese coiffure; for having been accustomed to oil it well for their native style, they discovered that the hair, when bound without any pomade, became very brittle and snapped short. Still, the European style is now largely adopted because it does not require expert assistance and the services of the professional hair-dresser can be dispensed with. Various styles are in vogue. Soon after the fall of Port Arthur in 1905, a high knot came into fashion under the formidable title of “203-metre hill knot,” in celebration of the capture of that famous hill which was practically the key to the great fortress. The favourite at present with our women is a low pompadour known as the “penthouse style.” But though the European way of dressing the hair has become very popular, it is not likely so long as the kimono remains unchanged that the Japanese coiffure, awkward as it is compared with the European, will be entirely superseded by the other.
Queues
Among the earliest innovations after the Restoration to which the Japanese people took kindly was the clipping of their queues. In the old days men had little queues on the top of their heads. For this purpose they shaved the crown and gathering the hair around, tied it at the top with a piece of paper string; then, they bent the queue and bringing it down forward over the forehead, fastened it with the ends of the same string so that the queue was tied tightly to the first knot. The end of the queue was cut straight. Fashion often changed in the making of the queue, though its general form remained unaltered. The bend, for instance, between the two knots might vary in size and shape, and the queue itself in length and thickness, its girth being regulated by the extent of the tonsure at the crown. Or the hair might be full or tight at the sides and the back. The front was usually shaved. In short, there was a wide scope for taste in the dressing of the queue. These queues were untied and remade every second or third day, and the head was shaved at the same time. Hair-dressing was therefore a troublesome business, especially as one had generally to get assistance for it. Consequently, when the cropping of the hair came into vogue, people eagerly adopted it as it saved them time and expense. At first they cut the hair long, letting it half hide the ears and come down to the neck behind; but it became shorter by degrees until now the fashion is to crop it to about a quarter of an inch, presenting a head which is appropriately known as “chestnut-bur.”