E-text prepared by Constanze Hofmann, Suzanne Shell, and the Online Distributed Proofreading Team (http://www.pgdp.net) Note: Project Gutenberg also has an HTML version of this file which includes the original illustrations. See 34903-h.htm or 34903-h.zip: (https://www.gutenberg.org/cache/epub/34903/pg34903-images.html) or (https://www.gutenberg.org/files/34903/34903-h.zip) Transcriber's note: Text enclosed by equal signs is in bold face (=bold=). A list of corrected printer's errors and inconsistencies can be found at the end of the text. The Artistic Crafts Series of Technical Handbooks Edited by W. R. Lethaby DRESS DESIGN [Illustration: A Long-trained Muslin Dress. About 1800.] DRESS DESIGN An Account of Costume for Artists & Dressmakers by TALBOT HUGHES Illustrated by the Author from Old Examples · Together with 35 Pages of Half-Tone Illustrations London Sir Isaac Pitman & Sons, Ltd. Bath, Melbourne, Toronto, and New York Reprinted 1920 GENERAL PREFACE TO THE SERIES In issuing this volume of a series of Handbooks on the Artistic Crafts, it will be well to state what are our general aims. In the first place, we wish to provide trustworthy text-books of workshop practice, from the points of view of experts who have critically examined the methods current in the shops, and putting aside vain survivals, are prepared to say what is good workmanship, and to set up a standard of quality in the crafts which are more especially associated with design. Secondly, in doing this, we hope to treat design itself as an essential part of good workmanship. During the last century most of the arts, save painting and sculpture of an academic kind, were little considered, and there was a tendency to look on "design" as a mere matter of _appearance_. Such "ornamentation" as there was was usually obtained by following in a mechanical way a drawing provided by an artist who often knew little of the technical processes involved in production. With the critical attention given to the crafts by Ruskin and Morris, it came to be seen that it was impossible to detach design from craft in this way, and that, in the widest sense, true design is an inseparable element of good quality, involving as it does the selection of good and suitable material, contrivance for special purpose, expert workmanship, proper finish and so on, far more than mere ornament, and indeed, that ornamentation itself was rather an exuberance of fine workmanship than a matter of merely abstract lines. Workmanship when separated by too wide a gulf from fresh thought--that is, from design--inevitably decays, and, on the other hand, ornamentation, divorced from workmanship, is necessarily unreal, and quickly falls into affectation. Proper ornamentation may be defined as a language addressed to the eye; it is pleasant thought expressed in the speech of the tool.