Dress design / An Account of Costume for Artists & Dressmakers, by Talbot Hughes : (full image Illustrated)
W. R. LETHABY（編集）
内容THE ARTISTIC CRAFTS SERIES OF TECHNICAL HANDBOOKS EDITED BY W. R. LETHABY
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
SIR ISAAC PITMAN & SONS, LTD.
Bath, Melbourne, Toronto, and New York
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.
In the third place, we would have this series put artistic craftsmanship before people as furnishing reasonable occupations for those who would gain a livelihood. Although within the bounds of academic art, the competition, of its kind, is so acute that only a very few per cent. can fairly hope to succeed as painters and sculptors; yet, as artistic craftsmen, there is every probability that nearly every one who would pass through a sufficient period of apprenticeship to workmanship and design would reach a measure of success.
In the blending of handwork and thought in such arts as we propose to deal with, happy careers may be found as far removed from the dreary routine of hack labour, as from the terrible uncertainty of academic art. It is desirable in every way that men of good education should be brought back into the productive crafts: there are more than enough of us "in the city," and it is probable that more consideration will be given in this century than in the last to Design and Workmanship.
The designing and making of Costume is a craft—sometimes artistic—with which we are all more or less concerned. It is also, in its own way, one of the living arts, that is, it is still carried forward experimentally by experts directly attached to the "business." It has not yet been subjected to rules of good taste formulated by Academies and Universities; but when Inigo Jones, the great architect, was asked to make some designs for fancy dress, he based them on the Five Orders of Architecture, and ponderous fancies they were.
If we look for the main stem of principle on which modern Costume develops, we seem to find it in the desire for freshness, for the clean, the uncrushed, and the perfectly fitted and draped.