The sun. [volume] (New York [N.Y.]) 1833-1916, 1903-05-31
THE NECK MOULDED AT WILL.
THREE WAYS or ADDING BEAUTY
TO THE THROAT.
First, one Must he Able to Turn the HEAD
Freely Th,s Way ami That Next, 10 the
Matter OF Holding II Just High Enough
The Neck's Shane Changed by Massage


Matter or Holding II Just High Enough
The Neck Shape Changed BY Massage
Have you ever watched the motions OF
fourteen-year-old girl2
Have you ever noticed how abe turns
her head this way and that, and now sne
darts out her chin, poises her head hlgn'
lowers 1t and makes thousand QUICK
little movements every minute OF her llle'
Now, after you have watched the four
teen-year-old girl for while just turn your
attention to the motions OF woman OF ~.
And for this purpose select the conventional
woman, the well-dressed woman. the lady
Of leisure.
II you look at her you will note at once
that her throat Ia done up very tightly,
and that when she turns her head she does
80 with an effort. She looks over her high
stock at you, and seldom does she turn her
chin more than an inch or two
1t il impossible for her to do 80, for her
head is held high by its neck dressing g.
and her throat Is swathed with silk and
lace and stifYened by wire until 1t is far
from being able to perform Its natural
duty, namely. that OF turning the head
freely and naturally
lou VIII IOlt VIC lhuN'o't ~ y'N
will keep on studying her, makes few
motions with her head, but for the most
part she turns it only by turning the whole
body; and IL she desires to look behind
her, she turns from the waist line keeping
her neck and throat imrnovable.
The result Is obvious. The throat OF the
fourteen year-old girl is long and slender,
but the throat of the matron Is short and
thick.
The fourteen -year-old moves her neck
and chin naturally, and 80 she keeps down
the fat and keeps away the double chin,
but the matron, with her neck in high
stock and her chin securely supported
by braces of silk and wire, Is not able to
move her head freely. and the result is seen
in the thickening OF the neck. the stihening
Of the throat and the doubling OF the chin.
Even with the tight, high lace stock there
is much damage done.
The same rule holds true Of any part OF
the body. If you keep the ankles wrapped
up and do not exercise them they will soon
accumulate fat. II you keep the waist
tightly bound and do not exercise its
muscles there will soon be rolls of fatty
tissue around the waist, and the body, which
is naturally slender and graceful, will be
bulky and disagreeable to gaze upon.
With the throat It Ia even more apparent
than with the rest Of the body, because the
neck is visible at all times. or partly visible.
The rolls of fat, as they accumulate, are seen
by everybody. and the woman who can con-
ceal her waistband with a straight front
and can hide her fat ankles under long
skirt is compelled TO come forth into the
broad daylight with her double chin and
her thick throat.
There are women whose chins are SO
doubled that they are compelled to wear
mems collars, taking fifteen and sixteen
inch bands to span the neck. There are
others whose chins are 80 fat that they
are compelled to wear strip of ribbon
around the throat. And still others can
wear nothing except a tiny bit OF lace.
Heavy breathing is always heard in these
cases.
OF course all beauty ia lost as soon a.
the face becomes so fat az this. For, with
fat in the chin and throat, the face is square
and the contour Is lost and the oval all
gone.
The young summer girl does not look
forward to any suoh accumulation of fat,
but it is not too early for her to begin to
guard against it. She must remember that,
once upon time, the fat woman, the woman
with four chins. was a summer girl herself.
and that the pumpness came upon her
slowly. almost irnperceptibly, but none
the less surely and steadily.
II the summer girl would keep away fat
and make her throat more slender, she must
get at work upon It, She must not wait
until the first roll Of fat appears; when she
looks into the glass she should see several
things.
First, che should behold a neck that is
white and smooth, with every bone covered.
The neck should be plump, but not fat by
any means.
It's hollows should be all filled out, but
there should be no rolls Of flesh. The fat
neck is a disagreeable thing, and rather
than have a neck entirely filed out. one
should cultivate a chest with a few hollows.
for hollows. the artist will tell you. are
much more interesting than fat.
A for the throat, it should be slender +.
long and almost round. A perfect throat
is like column supporting the head
stes Oily
Cling to hold UP the head, and at the back
OF the neck there is an impression as though
the head were too heavy for the neck which
supports it.
There are a few women, 30 richly en-
dowed by nature with a nice neck and
throat, that it Ia not necessary to take
beauty exercises. But, for the most part.
the neck is faulty. and to make it perfect
one must work upon It.
There are three ways of cultivating the
neck, as the work of identifying the throat
Is called. Tho first and most important
one Is that Of exercise
Unless you can hold your head erect, can
turn your chin freely this way and that;
can throw back your head so as TO look at
the ceiling you will not have a supple neck.
The next important move In neck culture
Ia learning the proper carriage of the head
The head should be held up at all times;
and as soon as you get in the habit Of hold.
ing UP your head, just 40 soon will you add
SO per cent. to your good looks,
BY holding up the chin ia not meant the
habit of duckng the chin forward in goose
fashion, nor that Of holding up the head
high and pressing the chin down into the
| throat. but the little trick Of holding 1t just
high enough.
TO learn to hold up the head properly it
IL a good thing to study the portraits of
famous beauties and TO note how exquisitely
they have learned to poise the head. The
chin is held so well out that it makes ono