Costume: Fanciful, Historical and TheatricalAria, Mrs. (Eliza Davis)
History
Costume: Fanciful, Historical and Theatrical
Aria, Mrs. (Eliza Davis)
Costume -- History
The country-woman who dwells in the indulgent times of Edward VII. should
ponder over the picture, and repent of her shapeless bodice divorced from
her unsympathetic skirt, and her cloth cricket cap held by aggressive
pins above a group of tortured wisps of hair bound in steel bondage to a
cruel curler.
CHAPTER XI
OF SOME FOREIGN PEASANTS
I regret, from the practical as well as the artistic point of view,
the threatened disappearance of local colouring, as emphasised by the
characteristic costume of the people, for I am convinced that the
adoption of a uniform style of dress by a community greatly furthers the
cause of neatness and economy.
No opportunity being afforded for the display of personal bad taste,
extravagance is discouraged, and the spick and span are virtues which
may distinguish the careful from the slatternly, and reveal much to
the student of character. A love of colour and personal adornment is
inherent in the human race, and it is to be regretted that the relentless
advance of commerce is responsible for the blotting out of a country's
individuality, and reducing all places to the same dead level of monotony.
Differing slightly but distinctly with the locality, the dress of the
peasants of Brittany is second in interest to none in Europe. This fact,
coupled with an instinctive conservatism common to those who "go down to
the sea in ships," is, no doubt, accountable for the tenacity with which
the Bretons cling to their national costume, bearing it with them when
they emigrate and donning it on gala occasions in the new land.
Peculiar to the peasant of Bignon is a white flannel petticoat, the hem
surmounted by a scarlet band. Pleated at the waist, it joins a bodice
fashioned from bright red cloth, which fits closely up to the throat and
is edged with black velvet embroidered in various coloured worsteds,
turned-back cuffs to match finishing the tight elbow-sleeves; while the
apron, in a dark tone of mulberry, fastens by means of a sash tied in a
bow at the side. Covering the head is a small cap of white linen, which
serves as foundation for a conical erection contrived from a coarse
starched texture resembling brown holland. To this is attached a pair
of long flaps, which can be pinned up or left hanging according to the
taste of the wearer. The well-to-do possess a necklace of amber and black
beads, and a gold and ebony crucifix suspended from a narrow black velvet
ribbon.
Public-domain text, read in full here on John Shaqi.
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