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The Ogden standard. [volume] (Ogden City, Utah) 1913-1920, April 13, 1914, 4 P.M. City Edition, Image 10

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Persistent link: https://chroniclingamerica.loc.gov/lccn/sn85058396/1914-04-13/ed-1/seq-10/

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11 j I clJ( aloxjui 1);::;:
:p Mme Simcax is m.crica!s Greatest fj::::!j 1
MM DesiSfex and Creator of Fashion, ppl! I
E3E::i COPYVZfGtfT 9 ' SAfCoX E:::::ij f
-T----tl - AMtorf iot r ; : : : ; i
II sl many arc the varia
I Cy ons which appear
I from day to dny in
I fc lon that' f0r 1116
I wTtI greater number of
I women.it isalinost
I icrjS Impossible to keep
I JBp pace wltn tuo sul
I " . tie differences that
I Uf adontecl with
I of good results. It Is
I Jy f the TiQveltics and
I trifles that can be
I ' I applied to the as
I mired fashions in a way that offers
I added variety and interest And has .
there ever been a time when wc have
I had such a niixup of periods and na
I tloual modes as at the present mo- .
ment? We have Watteau hats, Pompa
dour cretons, Egyptian scarabs, Ro
man striped silks, Japanese bows, not
to mention a revival of the futurist lin
ings and Post Impressionist effects.
"What the exact significance of all this
conglomeration will be beyond a gen
f cral bizarre license for eccentric nov
elty "would be hard to define. Still, it -!
all adds to the interest of our clothes
and encourages a taste for originality.
At the same time the so called "ar
tistic" woman (always a dangerous
personality as far as dressing is con
cerned) should beware of wall-paper
j or pre-hlstorie designs in silks and
I cretajis as substitutes for the rare color-('
! . ings 'and effects -in which the favore'd,,
rich' can indulge without giving 'of-
One of the commonest mistakes In
dressing Is to copy in cheap materials
koiiic eccentric mode that can only
justify Its existence when everything
connected with it is beyond criticism.
Fashionablo Spring Fabrics.
The alert" brains of the manufactur
ing world have devised all manner of
delectable fabrics for Spring wear.
The most fashionable materials for the
moment for afternoon gowns and tail
ored suits and trimmings are silk duve
tyn, chiffon taffeta In Persian effects,
Roman stripe moires, crepe poplins,
Irish poplins in clan tartans, ripple
crepes in silk and wool, gabardine and
I golfine.
With the tunic styles foremost the
fashionable fabric must necessarily bo
that which drapes gracefully, clings
closely to the figure, IIs necessary, and
at the same time be fairly durable, for
"with the thes dnnsanic that are all the
vogue the afternoon gown must not be
too. Iragile. As silk crepe fulfills so
perfectly these requirements it will
undoubtedly enjoy tremendous popu
larity. Several new weaves have ap
peared which are of interest. Pebble
crepe, "which I have used for several
of my new models, is delightfully sup
ple and pliable, with an added lustre
which makes It quite irresistible. It
can be easily manipulated and falls
naturally Into graceful folds.
Chiffon tiff eta makes up into ex
tremely smart looking gowns and taf
feta, cither plain, check or striped, Is
very fashionable at the time of writing
and undoubtedly will continue to be.
The most supple, softest weave, of
course, is the taffeta of the moment
Some of the French couturieres say
that they find even that somewhat stiff
for the prevailing modes, but person
ally I have found that It can be easily
draped to form the niches, frills and
panniers that arc features of the Spring
A unique position is held by golfine.
It Is an excellent understudy for cor
duroy, and like corduroy will outwear
the majority of materials, for In the
best qualities the fabric is pure and
not chemically treated to give it a
finish. Perhaps it owes a great deal of
its success to the particularly good
colors in which it has been developed.
An exquisite shade of chamois, the
new Argentine yellow and flamingo,
are all deftly brought out In this ma
terial. For sport coats and golf capes
golfine supercedes all others. Stripe
materials are very popular again, but
they are outrivaled by the plaids and
checks, which are extremely smart this
spring. The favored color combina
tions are shown blue and green, blue
and white, brown and blue, and it goes
without saying that black and white
is In evidence,
My French correspondent writes me
that, although black hats were con
spicuous at the Auteuil race?, the
gowns were in the brightest colors and
the most vivid plaids were used as
trimmings on the tailored suits.
One costume that created quite a
sensation was .worn by Mile. Yvonne
Brellot, the young comedienne. The
suit was of gabadlne in bright Russian
green; the skirt was made with box
pleats and was quite short; her under
skirt, which came a 'few inches below
her dress, was of green and blue tar
tan plaid silk: the little collarless bo
lero, with the same plaid on the revcrs,
opened over a whittj cloth waistcoat
which fastened in a trig manner down
the front with a row of oxidized silver
buttons, the genuine Scotch buttons
bearing tt thistle. ITer hat was a
Scotch herd, with an ochre colored up
standing quill. Over I his costume was
thrown a long green Neapolitan cape
lined with white si) tin. The cape was
cut with the fashionable point at the
back and fell in ample folds, which en
abled the wearer to throw the end
over her shoulder in true cavalier fash
ion, Tho cape, like most of these new
Neapolitan wraps, had a large hood
lined with silk. This kind of cape re
calls the golf cape of ten years ago; It
Is extremely full and is cut circular.
Some of the models come down as far
as the hem of the dress.
Many white waistcoats and black and
while vests arc worn with tho French
frocks. An instance of this is shown
in the model illustrated (Fig. 1.) Tho
costume, showing a smart combination
of two materials, is In black moire
taffeta and a deep Thespian blue satin
cloth. The little coat which Is much
seen in Paris is semi-fitting and fastens
In a novel manner with straps over tho
vest, which is of thick white silk, strip
ed with black, with a row of blue and
black enamel buttons. The fish-wife
Vlrapery forming the upper part of tho
skirt Is of the moire taffeta. The cloth
of which the underskirt Is made and
which Is employed for the facings of
the coat is in that exquisite rich shade
of blue that has recently cropped up
with such avidity. This, blue has a
purplish tinge in it in some of Its tones,
while in othors it is uncompromisingly
blue in varying depths. It looks its
best in the finest face cloths and poplin
cloths. And it has this advantage (for
those wise women who do not try to
save on material that it cannot be suc
cessfully reproduced in cheap fabrics'.
Thespian blue Is only for those who
buy good material. With such a cos
tume as the one under discussion, a
little white crushed straw toque, with
two full black pompons standing sheer
out at the sides as in the sketch, la
extremely smart
French Frocks I Have Imported.
I have now on exhibition some new
frocks from the French capital which
show the general trend of style abroad
as completely as it can he shown when
all the notable Paris couturieres seem
to be bent on more Individual develop
ments than were Characteristic in for
mer years. There Is, however, a decid
ed leaning toward a balloon effect be
low the hips, again arrested at the
knees, as exemplified in Fjg. 2, where
two rather wide bouffant ruffles again
contract the fullness of the gathered
skirt: A rather butterfly effect is to be
observed on the front draping, of the
gown body, while the loose long sleeves
have turned back cuffs of a most pi
quant shape.
Dark blue, called by the pretty name of
hlitc tic nuit, Is a favorite among the
colors of Spring costumes. One attrac
tive model in this deep color Is dovel
' oped in chiffon and taffeta, combined
with a rare cream lace arranged in al
ternate irregular circles around the
figure. .A note of oddity is added by a
unique gilt necklace, which encircles
the throat in a single strand and falls
with pendant tassels over the bust A
tightly grouped bunch of dull red moss
rosebuds Is tucked in at the belt.
Another dark blue street costume of
light weight serge has charmcusc ruf
fles about eight inches in depth run
ning in diagonal lines from the wnlst
Une. It Js . brightened by a red-gold
chiffon bodice, hand embroidered with
green and orange floss silk. A bunch
of varl-colored cherries decorates the
The gown on Fig. 3 Is a creation of
my own, and I have used a dusky, gray
tussor, almost the color of smoke, for
my medium. Its somber lone is liv
ened with a modified Gabrielle d'Es
trces collar, who, history tells us, was .
the "heart-queen" of Henry the Fourth.
The color of this quaint feature of the
jacket is a peasant's pink, striped with
green. The material employed Is a ben
galino of unresisting quality unlike
tho lady from which the collar is
named! The box pleated front slants
toward the back in graceful, undulat
ing folds. Fringed ends, buttons and
braid ornaments feature on the front
of the jacket, and an oddly-shaped
buckle of gray .wood adds much to Its
Two of the most delicately lovely
models I have on view arc a radiant
blue and gold shot silk and a pale
beige moire of the softest quality imag
inable. The first mentioned has a celn
ture draped high In the back over a
bodice of transparent blue chiffon, be
neath which glimmers a faint sugges
tion of a gold corset cover. The neck
opens boldly over a filling of mallncs
and a strangely shaped loose collar
much like a rough rider's kerchief
shows on the back of the neck. A
little apron adds to the coquetry of the
Tho beige moire has loose tucked
sleeves of tho self-toned chiffon which
hang limply below the elbow. The
suave drapery of the skirt swirls be
low a short double tunic, and a pcpluin
of chiffon, embroidered with Copen
hagen blue in a non-committal geomet
rical design, serves its decorative pur
pose. This appears in similar figur
ing on the waist, which is further em
bellished with a high girdle finishing
in two Incisive points curved upwards
to the breast A narrow blue velvet
ribbon outlines the opening of the
neck, which is filled in with llcrre lace.
This same lace also shows Illusively
under the blouscd bodice in the back.
Charming, Indeed, is a dashing little
hat which I judged suitable to blend
with this costume. It had a brim of
the Copenhagen blue In hemp straw,
narrow in the front, but spreading
broadly toward the back. It was un-
m exit
dcrlined with a silk in soft Persian de
sign and the same silk composed the
rounded crown. Stiff little bunches of
flowers in the Identical hues of the
East were set primly around the brim
and poised on the back was a flat bow
of neutral-tinted brown velvet
Hat trimmings, for the most partr
seem to be put on at a more oblique
angle that ever, and whether adjusted
at the front or rear give the silhouette
a decidedly flamboyant appearance
when outlined against the background
of some smartly subdued drawing-room
wall; but. as long as they follow the
I correct line of proportion, wo do not
need to feel that they are' an offense
against artistic ethics.
New Features In Bags.
Among the new bags I find; many de
cided innovations. Their shapes are
manifold, but most of them are long
and narrow rather than short and
broad, as formerly. They are, besides,
all more or less ornate in style, even
the tailored models In leather being
gathered or pleated into mountings of
gun-metal, steel or silver. Some of the
newer designs, carried out in leather,
open to show a half-moon mirror cun
ningly Inserted in the top, which, with
the fittings that many of them now
boast, does away with the necessity
for a vanity bag. One of the most de
lightful appearing opera-bags I have
seen Is a melon-shaped affair of cloth
of silver, heavily fringed on the edges.
It Is mounted in platinum, and a plati
num watch is inset near the base. The
lining is of rompadour silk in plum
colored tones, soft and delicate to the
eye, while the interior when opened
gives forth a delicious and refreshing
odor of old lavender, a scent which, by
the way, is again assuming a dominant
role among the more pungent perfumes
and which brings back .to'us the days . A
"when grandmamma was young!" ""tC
- Ribbons.- ym
With the increased popularity of I
sashes, used sometimes on an ultra
quiet gown to give it the one brilliant
mote of fantastic color, the vivid tones
(of ribbons have struck a still more
(Vigorous .chord than those used on the
robes of 1S72. from which many of
them are copied. jKot .i few of the rib- 1
bbn sashes are shot with gilt or silver
and on aow.hlte gown blossom in con
ventional designs-stiff rows of pansles
and roses in shades not conceivable to I
the natural process of floral evolution 1
but only to the genius of a master- 1
wizard such as Luther Burbank. When I
our cye3 tire of- bizarre effects, how- 1
ever, we find a haunting charm and I
loveliness about some of the softer I
blurred designs, such as a faint rose In 1
irregular motifs against a background 1
of ash-gray. So much, however, of a. 1
color combination's effectiveness do- ?
..ponds upon the personam v 0f the wear- &
er. fbr there are moonlight as well as 'i
sunlight types of women-even though l'
until their sensibilities are trained',
they .may fnll to.recognlzo this fact 'jM
well known-as it Is to artists! vT?'
Phaoes of the Coaching Parasol.
Coaching, as we all. know, is one of ?
the chief delights of early spring, and h
the coaching parasol, or snn-umbrclla ?j
as it is sometimes designated, is in jj
class .quite by itself. It is built on lines V
much sturdier than the ordinary affair j
and has a Xnr heavier frame to resist ) '
the high winds which strike us with j '
so much greater force when we are (
perched on Jhd top of a coach. This I
coaching phruphtif generally boasts a
stout handle of wood, carved, in most 1
cases, with a sporting head of some 1
characteristic description, such as a 1
horse pr Dalmatian coach dog; while H
the silk employed should be of the J
heaviest quality obtainable to be of 1
any lasting value. One that struck me ll
as being the acme of suitability was If'
made with a handle of warmly-toned l
Bermuda cedar, a wood which has a '
delicious fragrance as well as heauti- (?
ful natural markings. The' handle was lit
carved in the semblance of a devil-fish. V
and the silk used'ran the gamut of the
yellows, from a burnt umber to a vivid i
gojd as sunny In effect as a summer I .
day. f .
Still another sun-umbrella was a
study in reds as glowing as the pic- (?
lure, "The Study In Reds." that the jl
artist William .Chase designed. Who will
ever forget that famous picture of his 1
In which the various shades of the same ft
tone-color seem to melt Into each other. (J,
blended and j-et distinct! The head of
the handlc-of this particular umbrella
was that of n gay tropical perroquct. J
while the handle itself was of the man- '
zanitn wood, which meets its- lino; J
growth in California. Two tones oj.
crimson fought for supremacy in the '
fabric, and flic whole effect was as j
porgeops as .that of a Royal Poiusettb
in fullest bloom. , j
MMBiiMMiMMMMizzzzzzz" . , , ..LL

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