The most hasty comparison of the earliest fabric gloves with those produced in our own times cannot fail to impress one with the tremendous strides the glove art has taken since it became a really modern industry. The silk and linen gloves of medi?val days were loose and almost shapeless; they possessed8 neither fit nor individuality. Roughly measured to clothe the hands of a king, they might have been worn almost equally well by the lowliest of his subjects. 108They were bulky and awkward, concealing9, rather than delineating, the character of the hands beneath.
Gloves of leather and kid were first to acquire those traits of individuality which were made possible by Xavier Jouvin’s invention of an exact system of measurements, adapted to virtually every size and type of human hand. The perfection of fabric gloves, however, lagged behind. Even silk gloves were indifferently made, and could be had in only a very limited range of styles and sizes. As for cotton gloves, these were conspicuous10 for their ugliness and cheapness, up to within a very few years ago. And yet, to-day, we have velvety11 chamoisette and imitation doeskins which, upon the hand of the wearer, are so deceptive12 that they readily are mistaken for the soft-finished leathers from which they have been named. These fabric gloves, made of white, yellow and many other colored textiles, woven especially for this purpose, are supple13, snug14 fitting, and possess a style of their own. They retain their shape even with repeated washing, and they wear amazingly well. It cannot be disputed that they fill a long felt need in both the masculine and the feminine wardrobes.
Particularly in warm weather the fabric glove, or the silk glove, almost puts out of business the leather glove, which seems heavy, overheating, unsanitary, and entirely15 out of keeping both with the light costume and the altered mood of the wearer. As summer approaches, we naturally long to have everything about our persons fresh, easily renewable, dainty, light and cool to the touch. 109Leather and kid repell us for ordinary wear. Only the finest and thinnest of kid dress gloves find a favored place in the summer wardrobe; while the fabric glove, in countless16 new guises17, becomes increasingly popular with every successive season. Through June, July and August, fabric and silk are worn almost exclusively—and if the period be short, during these weeks at least the washable glove is without a rival.
Just as the chamoisette, or cotton doeskin, provides an acceptable substitute for cape18 and lambskins for general wear, so the silk glove—the Italian or Milanaise—becomes the dress glove for summer and is appropriate for all except the most formal occasions. The silk glove, indeed, has recently been brought to a very high state of perfection through the growing skill of textile experts and inventors, and by the application of the best glove-cutting and sewing methods; the latter, which have worked such changes in the style and fit of kid gloves, have done no less, proportionately, for the elevating of the silk glove. The soft, delicate, yet firm Milanaise silk fabric now clothes the hands as smoothly19, and renders their shape as comely20 and as full of character, as the kid glove long has been wont21 to do. Indeed, it disguises the hand even less, and is a real test of shapely knuckles22 and tapering23 finger tips. Also, the glistening25 silk itself is peculiarly seductive, at the same time that it delights the wearer with its luxurious26 and cleanly contact.
While kid gloves must be regarded as an art whose secrets are best known to the 110French, fabric, and particularly silk, gloves are manufactured with enviable success in our own country. Doubtless one of the most interesting glove mills to visit is a well-known factory located in the Alleghany industrial district of Pennsylvania, which, though occupying a comparatively small area, is wonderfully complete and efficient, and turns out by the latest approved methods a large output of high class Milanaise gloves. The president of this company, who is hands, feet and brains to his mill—also a practical inventor and a lover of machines—has made it possible, by courteous28 attention to every requirement of the trade, to place upon the market a superior product, and to win and hold the confidence of his business associates.
A visit to this particular mill is doubly affording to the student of glove-making because here they weave and dye their own silk fabric. We are able to follow the process from a skein of raw silk to the finished glove in all its accuracy and beauty. Every step in its evolution is attended with admirable carefulness and despatch—the glove emerging almost miraculously29 from the crude material as it is passed swiftly from one operator to another, each worker contributing one factor more to its final perfection.
The silk strand30 arrives “in the raw” from Japan, packed in straw bales, and might easily be mistaken for a shipment of tea. In this state the silk resembles fine white hair or, even more closely, spun31 sugar. It is sent in quantities, as needed, to the spinners, and on its return is put through a boiling 111process to remove a gummy substance inherent in the crude product.
The strand is now ready to make the acquaintance of the machines. First of all, it must be wound by machinery32 upon spools33. This process is known, simply, as the winding34 process. The neatly35, evenly wound silk is then conveniently fed from the spools onto other machines which transform it into the warp36 or foundation for the silk fabric. These warps37 vary greatly in width—some being like ribbons, measuring about six inches across, others measuring 144 and even 168 inches. They are delicate webs of shining silk with the threads running in a single direction—vertically, to be exact.
Weaving machines next receive the warped38 silk. Each of these machines is equipped with four thousand needles, or twenty-eight needles to every inch, which knit up the silken web into cloth. As fast as woven, it is dropped and rolled upon a long cylinder39; it is very soft and satiny and astonishingly resembles a mass of molasses candy which has been “pulled” until it is snowy white and of glistening smoothness. It is now ready to be dyed. The dyeing is one of the few primitive40 steps retained in the entire process. This operation is performed by hand, and the material is lifted and worked on long sticks to ensure evenness of color. No machine is capable of giving such satisfactory results.
The final step in preparing the fabric, however—the dressing41 or finishing—is done by means of an elaborate machine, consisting of sets of copper42 cylinders43 or rollers. The 112wet, freshly dyed silk cloth is brought to the dressing machine a hopeless looking mass of soppiness and wrinkles. It is rolled upon a large cylinder which passes it on to one smaller in diameter, which, in turn, feeds it off onto a rectangular frame provided with rows of sharp points, like pin points, on both edges. Between these points the silk is stretched as tight as the inflated44 skin of a balloon. The frame bearing the taut45 silk is then carried through a long, narrow, heated tent, some twelve feet in extent. It emerges at the opposite end, thoroughly46 pressed, smooth and finished, and is again rolled on cylinders with layers of paper between the breadths of the silk, in case the fabric may still be a trifle damp, in order to ensure the perfection of the silk.
The Milanaise or Italian silk is now ready for the glove makers47. First it passes into the hands of the cutters, who block out and cut by means of dies pieces of silk of the right size for each glove. These dies vary according to the many different sizes of gloves. Another set of cutters takes these pieces and places them in punches which mechanically cut out the shapes of the fingers and the reinforcements for the tips of the first three fingers. These reinforcements hang onto the ends of the fingers. Still other cutters cut out gussets, fourchettes and thumbs from scraps48 of the silk cloth, to be fitted into the glove when it is sewn together later. In this way every morsel49 of the silk is utilized50.
Before the gloves at this stage are handed over to the sewers51 they are stamped in a press with the name of the company which 113has ordered them for its trade. Aluminum52 leaf is used in this process, and silver lettering is the result.
Women seated at sewing machines now receive the cut, marked gloves, and the first step toward joining their many parts consists in stitching the reinforcements onto the ends of the fingers. This, of course, gives the double finger tip and is a protection against wear. The backs of the gloves next are finished with fancy embroidery53 stitchery. In the simplest and cheapest gloves this is accomplished54 by a single operation. But as gloves rise in quality and price, the embroidered55 backs become more elaborate.
The thumbs now are stitched together individually and then are put into the glove itself. The next set of sewers stitch in the fourchettes—or sections forming the sides of the fingers—seam up all the fingers, and close up the long seam running from end to end of the glove. Passing into other hands, the openings at the wrists are skilfully56 bound and stiffened57, or faced. Trimmers clip off all superfluous58 silk in the seams and turn the gloves right side out on wooden sticks. The wrists are then neatly hemmed59. Clasps of metal, pearl, or covered with the silk, are stamped into the wrist facings by machinery—and the glove is ready for the examiner.
This is one of the most important steps in the whole process. It guarantees the perfect condition of every pair of gloves which leaves this factory, and ensures the merchant and his customer against any possibility of fraud in handling or buying the output of this company. The finished glove is turned on a 114stick resembling the glove stretcher commonly used at the counter; every seam and crevice60 is carefully tested and scrutinized61. If no flaw is discovered the glove is pronounced ready for the packing room.
In order that the goods may present the finest appearance possible and that it may be restored to perfect freshness and shapeliness after passing through so many hands in the making, the gloves are placed on wooden forms in the packing room and enclosed in a heated box for from six to seven minutes. They are then taken out, slipped off the forms, and given to operators who stitch them together in pairs, label and tie them, and pack them in pasteboard boxes according to size and color. The finished glove is now ready to be placed on sale, and is fit to tempt62 the most discriminating63 customer of either sex.
But while the silk glove of recent years has become a truly progressive industry, let it not be imagined that the kid glove to-day is resting upon its laurels—great as its historical prestige certainly is! The methods of kid glove manufacture are being tirelessly improved upon; the product itself is of finer grade than ever before, it presents greater variety, it is all the time more cleverly adapted to modern uses. But only the designer of new styles in this important phase of apparel can fully27 appreciate the possibilities of the glove art as they open before him at the present hour.
The designer of French kid gloves, it goes without saying, is an artist. He may not be a Frenchman, however. It is a mistake to 115suppose that all the originality64 and all the inspiration to create a beautiful article of dress, acceptable to the fastidious of every land, must be of French origin. French influence, to be sure, plays an invaluable65 part in the education of such artists; but an American, with long training in the glove business, may have both the taste and the talent to invent glove masterpieces which will be eagerly adopted, not only in New York, but also in Paris. A few American experts actually have accomplished this thing, and their work is not to be lightly mentioned and passed over. It deserves our very special attention.
An artist who designs kid gloves, first of all has the feeling for gloves as gloves. His object is to originate something beautiful in glove form. Next, he knows the technique of glove-making from A to Z, just as the painter knows his pigments66, the laws of color and of drawing. The glove designer realizes the physical limitations of his art, and equally he divines the developments of which that art is susceptible67. He is thoroughly familiar with the materials at his disposal, with the machines and the skilled workers he must employ to execute his ideas.
At the same time, he has to be something of a journalist; he must keep his finger on the public pulse, and be able to prophesy68 what styles men, and especially women, will take kindly69 to wearing a season hence. Gloves, like everything else in dress, must satisfy the demands of fashion. They must change because life itself is change. They must adapt themselves to the costumes the shops 116are showing, to the mode of the hour, the latest conception of smartness and good taste.
In the hands of the designer of practical experience, who is also an artist, this becomes possible. Yet, to most people, gloves would appear a very limited field for the expression of originality! Examine, then, some of the new designs for this year and season. They will answer the question whether so simple and necessarily uniform an article as the modern glove is capable of much artistic70 variation, and from them also we can learn how such novelties are evolved.
Every large glove company has its own classical models—that is, there are certain standard styles of kid gloves of the best manufacture which virtually do not change from season to season. These have names, which are as well known in the glove trade as the names of real laces, of old, established design, to exporters and importers of that delightful71 commodity. For instance, in a famous glove shop on Fifth Avenue, New York, we are introduced to three classical styles—the Florine, the Seville and the Isère. These are all fine French gloves, of a cut and finish familiar to many of us. They are the foundation of all the other styles, which are simply clever variations of these three.
For example, the Florine, a simple, overseam glove, acquires a one-inch cuff72 of a contrasting color—and with it the romantic title of Bandallette. Many beautiful color combinations may be seen in the new Bandallette—alabaster with a brown cuff, canary with white, gunmetal with pale grey.
117The Seville is distinguished73 by its crochet-embroidered backs, affording a much heavier finish than the stitching which decorates the Florine and the Isère. A deeply fringed cuff of kid is added—and lo, the Spanish cavalier becomes a knight74 of quite another cycle! Hiawatha, this picturesquely75 slashed76 glove of purely77 American inspiration is called—most reminiscent of the fringed decorations of aboriginal78 chieftains is the odd device which gives it its new-world bizarrerie and flavor. It is especially striking in pure white and black.
On the other hand, a two-inch cuff sporting large diamonds of white kid set in a black border—or the colors may be reversed—is known as the Van Dyck, and doubtless has caught something of the character of early Flemish design. The Van Metor may be mentioned as similar. This is a particularly beautiful glove when made in white kid, stitched with black, and adorned79 with white cuffs80, scalloped or pinked, and appliquéd with black kid cut in deep, sharp points which taper24 upward.
The Isère is especially adapted for variations of a dainty, delicate character. While the Seville lends itself best to two-toned embroidery in handsome, heavy effects, on the backs, the Isère is displaying just now on a white kid model rows of fine, black feather stitching between slender lines of plain stitching.
Another distinguished glove, the work of the same expert designer, is the Fielder, vaguely81 reminiscent of an old English hunting glove. In black, with a very long wrist, 118the striking feature of the Fielder is the deep, fan-shaped piece of white set into the wrist on the under side; it also fastens with a cleverly adjusted strap82, clasped with a white pearl fastener. This is a very dashing glove.
A black glacé with white stitching has a fancy embroidered design on the back which gives to it its title of Dagger83. The dagger is delightfully84 managed in conventionalized form, and reminds one of the adornments on crested85 gloves of ancient days.
Nothing could be more exquisite86 than the new gloves embroidered with bow-knots. If they are black, the bow-knots are in white; if white, the graceful87 design is embroidered in black. Either effect is charming; but the white gloves seem redolent of old valentine customs, when the true lovers’ knot might well have appeared upon a perfumed pair of dainty gift gloves such as these. The wrists also are parti-colored, gaily88 striped in white and black, like Pierrette.
A very long-wristed, modish89 glove is the Garnett, in white kid, with four black straps90 confining the fulness of the flaring91 cuff which is lined with black, and all the stitching black. Indeed, while delicate tints92 are seen in many of the novelties, the effectiveness of the new designs is best grasped in the black and white combinations. In any case, mere93 description gives little or no notion of the many interesting, beautiful styles which are appearing—nor of how much imagination and invention goes into the devising of these styles from season to season.
There is a world of comfort, too, in the thought that while such artists as these continue 119to concern themselves with gloves as a thing of beauty—gloves for gloves’ sake—we may rest assured that commercialism will not devour94 the more subtle distinctions of life. If such a trifle, let us say, as our gloves is being zealously95 guarded and saved to the canons of good taste, certainly we may hope to retain a true sense of elegance96, and our requirements in respect to the little niceties which make up the general deportment of a people shall be continually elevated.
If the foregoing description of the gloves of the hour may have seemed redundant97, or of too ephemeral interest, to the reader, let him pause and reflect that, after all, we are ourselves makers of glove history; and it may be that glove lovers of the future will be as grateful to find on record the gloves of our times, as we have been gratified to rediscover the glove annals of remote periods of human history.
FINIS
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1
undoubtedly
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| adv.确实地，无疑地 | |
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Vogue
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| n.时髦，时尚；adj.流行的 | |
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linen
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| n.亚麻布，亚麻线，亚麻制品；adj.亚麻布制的，亚麻的 | |
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clergy
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| n.[总称]牧师，神职人员 | |
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fabric
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| n.织物，织品，布；构造，结构，组织 | |
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quaint
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| adj.古雅的，离奇有趣的，奇怪的 | |
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texture
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| n.(织物)质地；(材料)构造；结构；肌理 | |
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possessed
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| adj.疯狂的；拥有的，占有的 | |
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concealing
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| v.隐藏，隐瞒，遮住( conceal的现在分词 ) | |
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conspicuous
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| adj.明眼的，惹人注目的；炫耀的，摆阔气的 | |
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velvety
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| adj. 像天鹅绒的, 轻软光滑的, 柔软的 | |
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deceptive
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| adj.骗人的，造成假象的，靠不住的 | |
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supple
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| adj.柔软的，易弯的，逢迎的，顺从的，灵活的；vt.使柔软，使柔顺，使顺从；vi.变柔软，变柔顺 | |
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snug
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| adj.温暖舒适的，合身的，安全的；v.使整洁干净，舒适地依靠，紧贴；n.（英）酒吧里的私房 | |
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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countless
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| adj.无数的，多得不计其数的 | |
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guises
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| n.外观，伪装( guise的名词复数 )v.外观，伪装( guise的第三人称单数 ) | |
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cape
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| n.海角，岬；披肩，短披风 | |
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smoothly
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| adv.平滑地，顺利地，流利地，流畅地 | |
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comely
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| adj.漂亮的，合宜的 | |
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wont
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| adj.习惯于；v.习惯；n.习惯 | |
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knuckles
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| n.（指人）指关节( knuckle的名词复数 )；（指动物）膝关节，踝v.（指人）指关节( knuckle的第三人称单数 )；（指动物）膝关节，踝 | |
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tapering
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| adj.尖端细的 | |
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taper
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| n.小蜡烛，尖细，渐弱；adj.尖细的；v.逐渐变小 | |
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glistening
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| adj.闪耀的，反光的v.湿物闪耀，闪亮( glisten的现在分词 ) | |
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luxurious
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| adj.精美而昂贵的；豪华的 | |
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fully
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| adv.完全地，全部地，彻底地；充分地 | |
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courteous
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| adj.彬彬有礼的，客气的 | |
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miraculously
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| ad.奇迹般地 | |
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strand
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| vt.使（船）搁浅，使（某人）困于（某地） | |
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spun
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| v.纺，杜撰，急转身 | |
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machinery
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| n.(总称)机械，机器；机构 | |
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spools
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| n.（绕线、铁线、照相软片等的）管( spool的名词复数 )；络纱；纺纱机；绕圈轴工人v.把…绕到线轴上（或从线轴上绕下来）( spool的第三人称单数 )；假脱机（输出或输入） | |
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winding
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| n.绕，缠，绕组，线圈 | |
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neatly
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| adv.整洁地，干净地，灵巧地，熟练地 | |
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warp
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| vt.弄歪，使翘曲，使不正常，歪曲，使有偏见 | |
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warps
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| n.弯曲( warp的名词复数 )；歪斜；经线；经纱v.弄弯，变歪( warp的第三人称单数 )；使（行为等）不合情理，使乖戾， | |
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warped
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| adj.反常的；乖戾的；（变）弯曲的；变形的v.弄弯，变歪( warp的过去式和过去分词 )；使（行为等）不合情理，使乖戾， | |
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cylinder
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| n.圆筒，柱(面)，汽缸 | |
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primitive
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| adj.原始的；简单的；n.原(始)人，原始事物 | |
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dressing
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| n.(食物)调料；包扎伤口的用品，敷料 | |
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42
copper
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| n.铜；铜币；铜器；adj.铜(制)的；(紫)铜色的 | |
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43
cylinders
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| n.圆筒( cylinder的名词复数 )；圆柱；汽缸；（尤指用作容器的）圆筒状物 | |
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44
inflated
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| adj.（价格）飞涨的；（通货）膨胀的；言过其实的；充了气的v.使充气（于轮胎、气球等）( inflate的过去式和过去分词 )；（使）膨胀；（使）通货膨胀；物价上涨 | |
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45
taut
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| adj.拉紧的，绷紧的，紧张的 | |
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46
thoroughly
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| adv.完全地，彻底地，十足地 | |
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47
makers
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| n.制造者，制造商（maker的复数形式） | |
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48
scraps
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| 油渣 | |
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49
morsel
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| n.一口，一点点 | |
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50
utilized
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| v.利用，使用( utilize的过去式和过去分词 ) | |
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51
sewers
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| n.阴沟，污水管，下水道( sewer的名词复数 ) | |
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52
aluminum
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| n.(aluminium)铝 | |
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53
embroidery
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| n.绣花，刺绣；绣制品 | |
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54
accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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55
embroidered
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| adj．绣花的 | |
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56
skilfully
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| adv. (美skillfully)熟练地 | |
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57
stiffened
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| 加强的 | |
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58
superfluous
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| adj.过多的，过剩的，多余的 | |
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59
hemmed
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| 缝…的褶边( hem的过去式和过去分词 )； 包围 | |
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crevice
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| n.(岩石、墙等)裂缝；缺口 | |
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scrutinized
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| v.仔细检查，详审( scrutinize的过去式和过去分词 ) | |
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tempt
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| vt.引诱，勾引，吸引，引起…的兴趣 | |
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discriminating
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| a.有辨别能力的 | |
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originality
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| n.创造力，独创性；新颖 | |
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invaluable
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| adj.无价的，非常宝贵的，极为贵重的 | |
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pigments
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| n.（粉状）颜料( pigment的名词复数 )；天然色素 | |
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susceptible
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| adj.过敏的，敏感的；易动感情的，易受感动的 | |
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prophesy
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| v.预言；预示 | |
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kindly
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| adj.和蔼的，温和的，爽快的；adv.温和地，亲切地 | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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delightful
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| adj.令人高兴的，使人快乐的 | |
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cuff
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| n.袖口；手铐；护腕；vt.用手铐铐；上袖口 | |
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distinguished
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| adj.卓越的，杰出的，著名的 | |
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knight
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| n.骑士，武士；爵士 | |
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picturesquely
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slashed
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| v.挥砍( slash的过去式和过去分词 )；鞭打；割破；削减 | |
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purely
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| adv.纯粹地，完全地 | |
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aboriginal
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| adj.（指动植物）土生的，原产地的，土著的 | |
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adorned
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| [计]被修饰的 | |
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cuffs
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| n.袖口( cuff的名词复数 )v.掌打，拳打( cuff的第三人称单数 ) | |
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vaguely
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| adv.含糊地，暖昧地 | |
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strap
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| n.皮带，带子；v.用带扣住，束牢；用绷带包扎 | |
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dagger
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| n.匕首，短剑，剑号 | |
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delightfully
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| 大喜，欣然 | |
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crested
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| adj.有顶饰的，有纹章的，有冠毛的v.到达山顶（或浪峰）( crest的过去式和过去分词 )；到达洪峰，达到顶点 | |
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exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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graceful
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| adj.优美的，优雅的；得体的 | |
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gaily
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| adv.欢乐地，高兴地 | |
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modish
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| adj.流行的，时髦的 | |
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straps
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| n.带子( strap的名词复数 )；挎带；肩带；背带v.用皮带捆扎( strap的第三人称单数 )；用皮带抽打；包扎；给…打绷带 | |
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flaring
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| a.火焰摇曳的，过份艳丽的 | |
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tints
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| 色彩( tint的名词复数 )； 带白的颜色； （淡色）染发剂； 痕迹 | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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devour
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| v.吞没；贪婪地注视或谛听，贪读；使着迷 | |
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zealously
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| adv.热心地；热情地；积极地；狂热地 | |
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elegance
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| n.优雅；优美，雅致；精致，巧妙 | |
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redundant
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| adj.多余的，过剩的；(食物)丰富的；被解雇的 | |
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