Capital Deformity

Seventh-day Adventist Publishing Association · Battle Creek, Mich. · Feb 10, 1874

Capital Deformity.

WE are talking of art, of the classical, in dress; but it is merely talk. If we actually cared about art, we should begin by pulling to pieces hideous mysteries known as French coiffures. There is no law which forbids a woman to have her hair arranged as befits her style and face; but anybody would suppose, so studiously is it avoided, that heavy penalties attached to wearing one's own locks plainly and becomingly. However, there is hope of better things. Already nearly half the false hair that was once prevalent has been discarded, and the hints of autumn modes show a tendency to diminish rather than increase the size of the existing coiffure. The present manner of combing the hair high up from the neck, and braiding it in a flat coil on the crown, while very convenient and comfortable for hot weather, so seriously interferes with hats and bonnets that cool days will probably modify the style. The Récamier, a design just introduced for full-dress occasions, will be much worn in the autumn. It is composed of a very high chignon surmounted by rolls and puffs in front, and fringed by curls behind. Braids daily grow in favor, and promise to exclude curls entirely from all daytime use. They are satisfactory, because dampness does not destroy them, besides dispensing with pins, hot irons, and slate-pencils; and they look nice and tidy, which much of the crimpy and fluffy arrangement or derangement does not.

When young women begin to realize that the injury they are doing their pretty locks by burning and breaking and wearing them off on hot irons and hot pencils cannot be repaired by years of extreme care, perhaps they will cease to use such instruments of deformity.—“Home and Society,” Scribner's, for September.