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Ben Yƻsuf, Anna / The art of millinery: a complete series of practical lessons for the artiste and the amateur

Lesson XI: Draping,   pp. 166-176 PDF (2.2 MB)

Page 166

                LESSON XI 
N every business, trade or profession, whatever may 
    depend on the cleverness of the brain, the genius of 
    the mind, in whatever manner it may find expres- 
sion, that is ART, and is inborn; it must be there or it 
cannot manifest itself; no one can teach this; we can 
only show ambitious students how to use the materials 
and tools, by means of which the beautiful ideas they 
hold within themselves may find expression. 
  This is just as true of the artist-milliner as it is of 
the sculptor or painter, and the beautiful effects that may 
be obtained by "draping" a piece of material come under 
the class of artistic manipulation. It may be in you or 
it may not; only by making the effort to do something 
can you discover this talent. Therefore, try. 
  Given the same size and shape of piece of velvet in 
the hands of a dozen persons, all working on the same 
shape, copying a draped model, no two will be alike, 
and probably not more than two will be anything like 
the original. 
  Parisian milliners will take any odd cutting of velvet, 
silk or lace, drop it over a frame, a few light touches, and 
behold an arrangement of beautiful curves, graceful 
lines, and lights and shadows that tempt a painter. One 
can readily understand how difficult such a model is to 
copy; until it is pulled to pieces one does not suspect that 
it is just a remnant from a gown or mantle! It is there- 
fore not the material that ensures success; it is the deft 
fingers, guided by the artistic brain. 
         Draped Effects Over Wire Frames 
   Draperies must never look as if sewn; whatever 
 stitches are necessary must be quite invisible; not only 
 this, but there must be no draw nor pucker that could 
 suggest stitches. 

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