HS 3553 ILF 03 CO ID vD O cn Z:Z:Z:Z:Z:Z:Z THE HULUTAMNA' f ttTe CAMP IRE GIRLS THE SHUL U TAM NA (IN FULL DRESS -WITH ALL BEADS ON) OF THE cnnp FIRE GIRLS BY CHARLOTTE V. GULICK (HIITEHI) PUBLISHED BY CAMP FIRE OUTFITTING CO. NEW YORK 1915 Copyright 1915 by Camp Fire Outfitting Co. New York The Camp Fire Girls' uniform is patterned after the dress of the Indian woman. It was chosen be- cause the lines of the primitive American woman's dress were simple and becoming to all girls and would not go out of fashion, and it could be made individual without destroying its uniformity. No outing or school dress could be designed which would meet such requirements. The costume is signi- ficant for the following reasons : ist. It is never completed. Girls can go on decorating it all their lives, yet it can be worn as soon as the seams are sewed. It can be worn any season of the year. 2nd. It is so inexpensive that all girls can have it. The poorest girl can make it as beautiful and symbolic as the richest. In Grand Councils it is impossible to tell the rich girl from the poor girl. The decorations, though, may distinguish the romantic, nature-loving girl from the artificial, shallow girl. 3rd. It binds girls of all parts of the country together during the most impressionable years. It points toward the most com- plete team play. When Guardians let their hair down and put on this simple gown they become one with their girls. It symbolizes oneness. The girls feel it. 335165 This is the first large organization of women that has adopted a ceremonial uniform. Many organiza- tions of men have uniforms. The cap and gown worn by college graduates comes the nearest to it, but this is worn by both men and women. It is not intended that the use of symbols and symbolic decorations shall be confined to the cere- monial dress. On the contrary, the girls are encour- aged to individualize all their possessions, including their apparel in this way. The use of soft-toned stencils combined with embroidery in the manner shown here is applicable to veils, collars, waists and frocks and also to the decoration of one's room. The drawings in this book are intended to stimulate the imagination of Camp Fire Girls in the designing of their symbols and the decorative treatment of their costumes. It is also intended as a guide to some of the basic principles of design in its relation to dress, especially in regard to the effective treatment of various types of the human figure. The Meaning of the Ceremonial Dress As the Camp Fire movement grew out of camp life for girls, a life that was simple and close to the heart of nature, the first Camp Fire gown was natur- ally one of simple lines and soft color, planned after the simple buckskin gown of the Indian maiden, which has been reproduced in khaki with leather fringes and decorated with bright-colored honor beads. The gown is seen at its best in the woods, where its har- mony with the greens of nature makes the girl as much a part of the landscape as any squirrel or thrush. But the gown is beautiful in itself, wherever seen, and lends an unfailing charm to the girl who wears it. With her ceremonial gown each girl wears her hair either hanging or in braids over her shoulders, bound with a bead-band in Indian fashion. All differ- ences in taste and fashion are obliterated, and as the girls gather in a circle about the fire at twilight, a picture is formed that has distinctive character and much beauty. It is because of these things that the costume means, as well as for its beauty, that Camp Fire Girls everywhere are urged to accept no substitute for the standard gown, of Government Khaki and leather, which should be made seven inches from the floor, for guardians and girls alike. Bloomers of khaki- colored muslin should be worn with the dress, dark brown stockings the color of the fringe, and dark brown moccasons. The gown should be kept in the best of condition, worn at the ceremonial meetings only, and should never appear in the streets or in street cars except with a long coat. 7 Most girls begin by decorating the gown with their own symbols, which may be embroidered, stencilled wood-blocked, or worked in bead decorations. A girl who is fond of canoeing, for instance, may have for her symbol a girl in a canoe, which, repeated, would form an effective border above the fringe of her gown. A Guardian often uses the symbols of all her girls as decorations and a girl may add her Guardian's symbol, or some decoration that stands for her father or mother, her brother or sister, any- one who has been an ideal to her or played an im- portant part in her life. The honor beads may be worn as a necklace or in long, straight strings, having one for each craft, or in some other combination. Those that are won by repeated honors and do not count for ranks might best be placed by themselves, perhaps sewed to the gown as decorations. No meaningless beads or decorations of any kind should be used. A special place should be kept also for National honors. Some girls are decorating the shoulders with these precious symbols of service to the National organization, some are using them at the side seams, others wear them straight down the front of the dress. But the ceremonial dress is not altogether a solemn affair, for it may bear record too of the jolliest of hikes and camping trips, in stencilled designs, sym- bolic buttons or bead pockets. One Camp Fire Girl buttonholed a bright-colored leaf to the gown as a souvenir of a happy day in the autumn woods. The leaf crumbled away in time but the outline remained. The chief caution to be remembered in decorating the gown, if it is to be beautiful as well as full of meaning, is to begin with a plan carefully thought out and keep an artistic balance in the arrangement of decorations. It mars the effect to have large spots of bright color placed thoughtlessly here and there, catching the eye against its will. But decorations in soft tones, following the lines of the gown, enrich it and add to its meaning as well. It is a splendid thing for each girl to design her own decorations as far as possible, but she can usually have the help and advice of her Guardian or of some one specially skilled in design, for one of the most remarkable facts about Camp Fire has been the willingness of those who have some special skill to help whenever they are asked. There are already many Camp Fire gowns in ex- istence that are precious records of the heart lives of their wearers, and that will perhaps be handed down to their children's children as a gift as sacred and far more vital than the samplers of our grand- mothers ; because these are of the girls' own voluntary thought and work, and represent the dawning con- sciousness of woman's power when all that is wom- anly in her is developed and set to work in our modern world. PAHUKATIUA, READY-TO -GIVE MY SYMBOL. IS CORN AND THE \\\\\ COUNCIL-FIRE. I CHOSE THIS BECAUSE * MY GIVEN NAME MEANS GIFT OF* GOD -AND THE CORN/IS THE DIPT WHICH THE INDIANS USED TO INVITE OTHER TRIBELS TO THEIR COUNCIL-FIRES. THUS THE \/V CORN STANDS FDR HOSPITALITY AHO ZZ GENEROSITY, TWO QUALITIES WHICH I WISH TO ACQUIRE. 10 F PAHUKATIWA THE: CORN SYMBOL is SHOWN IN HER BEAD BAND AND DECORATION OF HER COSTUME.) 11 i. Ci-ku-des-ka (song bird) wears her symbolic bird on the leather band at the neck. She sewed the bird in blue beads for happiness, and surrounded it with yellow beads, because he sings in the early light after the morning stars have set. The stars are on the long strips of leather hanging from her shoulders. Ci-ku-des-ka is short and stout so the leather strips give her height. On her leather cuffs she cut a symbol for the bird's song and the bead band above it is symbolic of clouds and sky. She won four Wokan national honors, which she sewed along the side seams. Her honor beads are arranged in strings to follow the long lines of her gown and the curve of her neck. 12 1. CI-KU-DES-KA SONG BIRD 13 2. Nan-ko (path) is short, so she has symbolized her path in the long leather band which comes around her neck and down the front to give her height. She left spaces on this in which to place symbols of her adventures along the way. These she will carve in woodblocks and print in the spaces. The long end of the band she fringed and on this she strung some of her honor beads. The path symbol on the bottom of her skirt, with two blazes, points the way for the footprints (round spots) to go. On her sleeve is the symbol of her Camp Fire Group. She has kept the small decorations on her gown in a few big spaces, so that the effect is one of richness but sim- plicity. 2. NAN-KQ PATH 15 3. Mi-ni-sa (red water) chose her name because she loves to canoe at sunset. She has decorated the neck and shoulders of her gown and the bottom of her skirt. Her string of honor beads, representing a river, follows the line of her collar, ending in a bead tassel of sparkling water. It is held in place by round beaded spots symbolic of wind and lake. The bead spot on the right shoulder is balanced by the symbol of her Camp Fire group on the left shoulder. Her collar is symbolic of flowing water. On her skirt is a canoe in the waves, above it the sun with rays pointing to the four winds. She is a tall girl and the lines of decoration cutting across her gown shorten its effect. 16 3. Ml-NI-SA RED WATER 17 4- This Camp Fire Girl is Bon-son-gee (the new fire). Fire is her symbol of life and health. She used it in the decoration of her leather collar, on the bottom of her skirt andmoccasons, woven in bead bands on the leather collar and above the cuffs and fringes. The arrow-shaped piece in the center of her collar is the Indian medicine man's symbol, which expresses her desire to study medicine. On her skirt is a rectangle symbolizing her love of outdoor life, with eight little triangles representing the mountains she has climbed. This wide decoration and the deep collar help to make her look less tall and thin. Her three strings of honor beads are for work, health and love. IN . BON-SON-GEE THE NEW TIRE 19 5. Can-hute (roots of a tree) has a tree symbol with seven roots of the Camp Fire Law. The symbol is cut out of leather to decorate the cuffs. Just above this is a bead decoration symbolizing the branches of the tree with its fruit. Each fruit is a special color representing some achievement. In the bead bands on the skirt are symbols of the girls in her Group. The honor beads are arranged around the neck with three beaded circles of work, health and love. Can- hute put her health beads among the fringes at her feet and beads won with her hands in the fringes on the under arm seams. The border at the bottom makes a cross line on the dress which shortens its appearance. 20 S. CAN-HUTE ROOTS of & TREC 6. The. symbol on this dress is a river with rocks, Ni-chia (river) being the girl's Indian name. She wove her symbol in bead bands to wear on the collar, above the cuffs and the fringe at the bottom of the skirt. The leather collar, cuffs and pieces decorating the slits at the side seams of the skirt are cut to symbolize three pointed rocks of work, health and love. Her string of honor beads is also in three parts and continues the pointed lines of her collar. There is opportunity for more decoration on the collar, sleeves and bottom of the skirt as Ni-chia has new experiences which she wishes to record on her gown. Her national honors can be placed along the side seams. -22 6. Ni-CHIA RIVER 23 y. This gown has the skirt decorated with a fringe of honor beads. Thongs fastened to an Indian woman's dress in this way mean paths. They could be arranged in groups of sevens and threes or in numbers having a special meaning to the wearer. Many honor beads can be added to the necklace, which is fastened to the gown so as to follow the line of the brown leather collar. If the girl is fond of home craft, the little beads decorating the tassels on the ends of the necklace can be flame-colored. Honor beads can also be fastened to the sleeves on thongs decorated with little flame-colored beads. 24 N0.7 25 8. The beauty of a group of girls in their Shulu- tamnas is that they are all dressed in khaki, in simple straight lines, fringed with brown leather, seven inches from the floor. If one girl wears a belt she spoils the silhouette of the whole group by having her gown cut across at the waist line. The stockings and moccasons should be the same color and as dark as the brown leather fringes, otherwise there will be a break between the fringe and her feet. NO. 8 9. The line down the centre of this moccason makes the foot look longer and narrower. It sym- bolizes a river with rocks. It can be worn with gown No. 6. 10. The symbol in the centre is a pathway over a mountain. The light band around it is also a path and the little dark spots, going around the heel are foot prints. This can be worn with No. 2. n. The star symbol on the top of this moccason is in yellow beads with a black background. It sym- bolizes the guiding star in the night. 1 2. This moccason has a round symbol in the centre for Dance, with little notes of music. Around the edge is a wavy line of motion. HO* 1O N0.11 NO. 12, 29 13. The Head bands should be woven of beads that contrast in dark and light so that in the firelight they will show well. This head band is decorated with figures symbolizing rocks and has long ends which hang down with the braids of hair. 30 NO. 13. 31 14- The head band may be fastened by braiding the threads on the ends and tying on beads symbolic in their color. This band has a symbol of home with open doors, showing the fire. On each side are the seven faggots of the law. On the ends are diamonds for personality with three barbed arrows pointing toward the home. 15. This head band is finished with a bead tassel at the side. The symbol is an owl for a studious girl. 32 NO. 33 1 6. Arrange your honor beads rhythmically, like the beats of a drum. If you are fond of music ex- press it by stringing your beads in the time of some favorite composition. Let your big honors be accents on your string. Little beads, in green, the color of creation, strung between your honor beads make a decorative chain. NO. 16 1 7. Strings of small beads symbolic in color be- tween your honor beads are effective. 1 8. This is made by sewing the honor beads be- tween two leather thongs with small beads on the outisde, ending it with a tassel. 19. Here is a tassel made of honor beads and leather which could be hung in the slits at the side seams. NO. IV 37 These two arrangements for honor bead neck- laces could be caught to the gown so as to keep them in good lines. The different colors of the beads should be arranged so that they combine well. 38 NO- 2.0 22. Honor beads strung on the neck lacings of the gown. 23. Fringe the ends of your collar" and string your honor beads on these. 10 NO. 2.2 MO. 2,3 24. Honor beads can be hung on leather thongs from the collar on the back of your gown. 25. A necklace with three strings for work, health and love. NO. NO. as Two ways of arranging honor beads from leather straps on the shoulders. 44 NO- 26 NO. ar 45 28. A beaded rosette with a tassel of honor beads hanging from the centre. 29. Honor beads used with a Wokan national honor. 30. The ends of long leather bands, which hang from the shoulders can be fringed and decorated with honor beads. 46 47 THIS BOOK IS T)TJE ON THE LAST DAT. STAMPED BELOW AN INITIAL FINE OF 25 CENTS WILL BE ASSESSED FOR FAILURE TO RETURN THIS BOOK ON THE DATE DUE. THE PENALTY WILL INCREASE TO 5O CENTS ON THE FOURTH DAY AND TO $1.OO ON THE SEVENTH 'JAY OVERDUE. MAR 17 1933 MAY 151933 19 1933 MAR 28 1935 APR 11 1946 LD 21-50m-l,'33