The San Francisco call. [volume], February 06, 1910, Page 14, Image 14

About The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913

Image provided by: University of California, Riverside; Riverside, CA

                
THE TUNIC TO CONCEAL THE PRINCESS GOWN
EARLIER In the season the top
blouse of chiffon 6olved the ques
tion of wearing last year's net
or lace with an air of fashion
able distinction, a.cd it is not surprising
to find that Paris has gone further in
this commendable direction. From the
arbiters of fashion there comes a sug
gestion that is friendly to the home
dressmaker who wishes to follow the
bast "lines" and, also, the dictates of
her purse. The half-worn princess frock
cf silk, cloth or velvet is now offering
a foundation for a tunic, which is
really the gown in this latest idea. "With
erect pleasure, then, should your eye
fiance over the sketches, for there lies
th« possibility of a new gown to even
th e Inexperienced. Very little fitting is
required, and hand sewing will be found
productive of satisfactory results. Sheer
materials, such as chiffon cloth, mar
quisette, chiffon or coarse net, lend
themselves to effective construction,
wh'le the ornamentation depends upon
your own ideas. When finished the con*
veniont tunic may be basted upon the
tuider-prlncess, or merely slipped over
with each wearing.
In the seated ilsrure there is an at
tractive combination of silk and voile— .
wood rose pongee for the foundation.
over which there is a tunic ofthe same
color of voile de ninon. The upper line
French Fashion Notes
PARIS. Jan. 27.
ALTHOUGH we look longingly to
ward the couth, where the touch
of winter Xalls lightly on nature,
there is springlike suggestion in
the shops and .showrooms that compen
sates for the chill in the air. With eyes
that seek out the new. our smartest
Parisians just now are picking up the
notes that are dominating the models;
and it must be conceded that there Is
the attractive variety always greeted
by women with joy.
It is still noticeable that the Parisian
tcr.denci&6 are strongly marked in pon
gee and linen suits. The loose, comfort
able lines promise an easy solution to
the shirtwaist and skirt problem which
courronis every woman.
Another model for early spring Is the
simple waist made in the style of a ki
rno:io. and attached to the waist is a
thort skirt shirred at the band. Cuffs
and a collarette of deep lace are the
elective trimming. Pleated net. also,
is frequently used.
Belts of very dull gold or silver are
worn with some of these little gowns.
Leather belte, wide enough to cover a
multitude of Bins against neatness, are
to be worn with linen dresses. Black
end red are the most favored colors.
For street wear there is the separate
coat of English material in gray, beige
or "feuille morte," which is the new
dead-leaf color. It is made on the lines
of a man's overcoat. An attractive
Jauntiness is the result that the French
woman has cleverly Insisted upon for
r.er morning walk in the Bois.
FOR THE HOME DRESSMAKER
of the overdress is shirred on a cord,
while the fulness Is gathered In a sim
ilar fashion at the waist. A band of
ellk, rose and white barred, is used to
edge the half-length sleeves and tho
bottom. The guimpe of fine white em
broidery and net has a flat circular
collar, and the sleeves are edged with a
net ruffle.
The back view of the next model
shows an excellent crossed line in the
bodice and an irregular effect on the
skirt of the tunic This convenient over
garment Is of mauve marquisette over a
cloth princess. You will observe that
there is Just a sug-gestlon of a sleeve,
cut in one with the bodice. Huge but
tons define the waist line at the back
and front. The bands of embroidery are
of long, quick stitches of mauve rope
silk. Surely a beautiful model, that
gives graceful lone: lines and a becom
ing simplicity.
Blue voile is used for the apron tunic
In the central figure. Bias bands of
blue eilk are curved at tho top, the
sleeve line and the lower edge. There is
a dignity in this style, linked with the
pC easing design of lace at the neck and
sleeves and silk or cloth for the foun
dation.
Gray coarse net forms the tunic of
the next model, showing to advantage
over the gray silk. The top is rounded,.
Many of the tailored suits have wide
striped silks Dor their linings. Colored
linings are more In vogue than for some'
seasons past.
For the mldseason there are charming
hats with huge crowns of tulle. These
may be of black, silver or gold, or may
be a combination of different colors
swathed around- the crown. Light In
weight, but not necessarily summery in
color, are these turbans. Often they are
trimmed with a huge flower or aigrette
placed at the back. .
The colors that reflect the autumnal
' shades are the favorites. Black is still
used for giving the little contrasting
..touch of which the French are so fond. •
For children- the 'styles are more ,
charming than ever. Little dresses of '
voile oe cotton are simply trimmed with
narrow beading or Irish lace insertion.
Coats for little girls are trimmed with
braid. The collars are of Irish lace in
sailor shape, or of corded silk edged
with silk fringe.
Hats are now made to match the
coats. The same material 'is used, and
the trimming is nothing more than a
band and rosette of dull gold or, silver
braid. .... . .
Jet Is again used for hair ornaments,
a band of It encircling the head and tied
in a bow. from the ends of. which hang
the tfhort ends of jet fringe.-
The hair is still worn quite flat at the
rides. Bunches of tiny curls have boon
worn in a Grecian knot by some women
who have boldly departed from the
savere straight swirl of hair.
ELOIBE.
and a panel suggestion is given by the
straight lines of the front. Soutache
Is used in large curves to outline the
edges. The back is quite like the
front, and. fastens at one side.
In the last figure a foulard dress is
the foundation over which a blue chif
fon tunic Is made. It Is a belted shape,
which offers a suggestion to the dress
maker who cannot trust herself to the
attractive . loose, long lines of the tunic.
Embroidery In coarse, dashy lines Is
used for the. band decoration. You will
notice how the Russian blouse Idea is
dominant. Indeed, this pattern may be
used when planning this style. Of
course, any figured silk can be con
coaled by a tunic of chiffon,. of a plain
The Fancy Muff
GHIFFON. velvet, satin and ..flowers
' have been combined with fur, "from
which : lovely '.union of materials
.the fancy muff s • have resulted, to ". the
glory of their; designers. ..The -Idea'* ls. a
\ reflection of the alliance \of /materials
In gowns and wraps; it- Is satisfying to
those ; who . wish )to "/purchase '*or those '
who would make their own. - . :
Velvet - ribbon on lynx < is ;; one of . the
many combinations that • have been 'ac- f
cepted by. women who wishv to depart -
from severe etyles. •Wide,', black*. velvet
is placed in frills' at 'each side: of /the
Cur, f ormln s \u25a0 a full -. casoad* \ over .- Urn
color that Is suggested In the founda
tion. _
Your dress of last year_can certainly
be worn "with a difference," due to the
half-concealing tunic. One Is almost
forced to believe that the woman .who
wrists. At the .top on one side/ 7 and
the lower; corner I of \u25a0 the 1 other end :of
the .muff are placed- huge bows.. You
can \u25a0 see how well this will look with a
velvet; or cloth costume, lending the ele
gance that ! Inevitably results : from t this
eoanblmntlon of velvet and fur.
- ':-.-./ .•'\u25a0;..;. ' . . .-,.'' •'. T.l', '-\u25a0'-'.
must consider vtho "cost of her outfit Is
receiving a long-felt recognition from
Parisian designers. It is safe to say
that America will seize the graceful
tunic and place it over the princess
gown with fascinating results.
Fox 1 of ' a rich, brown tone*" is lovely
when ' allied -with soft satin of the same
shade. 7 one* end £ a' : wide frill 7*7 * falls
over the , hand, ; while on the "other .side
the * irregularity of : the " skin ils beautl
fully » emphasized <by f. puffings ,of satin
that reach • to ; the -«d«e' of the muff.
Just one more suggestion . for the
fancy /muff. . A of spring
may-be given to a fur by the addition
of a - silk * flower -or spray. Frequently
this is. surrounded by soft chiffon which
melts into I the color of .the . fur. It is
a lovely accompaniment to the flowered
hat.- . '-.-.". s
Probably the best part of the fancy
mult is the possibility offered for ita
evolution at home from a muff of other
days and a few yards of new material.
The combination is irresistible and bids
fair to take the feminine hearts .and
hands by storm. _
The San Francisco Sunday Call
A Lost Curve
ONE of the most beautiful curves
in a woman's figure la the shoul
der line, extending from the ear
\u25a0 out to the bend of the arm. It
seems somehow to indicate the whole
woman. The poise of the head is de
pendent upon this line, or seems to grow
out of it. and as the head Is poised the
woman inclines. It is said that patrician
blood comes out In the way a woman
holds her head, and yet. in spite of this
well-known fact and the Judgment that
Is brought down upon the carelessly held
head, women will deliberately conceal
from the discri-ninating this evidence of
blood and good up-bringing.
The gracefully sloped shoulder should
never be concealed by outstanding frills.
The swanlike neck should not be made
thick in effect by the use of niching.
Fashions to the contrary, woman may
always dress becomingly. The styles
never make such rabid demands that the
knowing woman need sacrifice her per
sonal beauty. There always is the alter
native. The ruche may be abandoned
when something flat and equally pretty
takes Its place, and when other part 3
of the gown stamp it as reasonably
stylish. .
A little know-how — some women have
it to a remarkable degree and the others
ought to cultivate it— will carry a line
of heavy trimming, such as fur a puff
or a pleated frill, out beyond the shoul
der droop instead of allowing it to pass
over the curve of the shoulder on It 3
way from back to front.
There is an erroneous method— all too
frequently employed — which Insists upon
making women fat by filling up the
6houlder curve and by puffing out the
slender neck. It is only the mistake of
a less experienced or an inartistic dress
maker. The woman who makes a study
of her patron cannot possibly stuff the
figure at these points when an alterna
tive will do as well and better.
Keep the neck clear of all extras.
Narrow the necktie bow or elongata U.
as the face may require, but refrain
from spreading It beyond the neck out
line. Do not overline the collar and
keep all stiff interlinlngs away from col-,
lar and yoke. Use a narrow velvet band
at the collar's upper edge If your neck
is of- normal proportions, or increase
the width of tne band if your neck is
thin. Should the neck be actually so
slender as to suggest scrawnine33. a
band of- velvet round the collar's lower
edge will icive it width without disturb
ing the outline.
Fit your shoulder seams as you have
never done before if you would add to
your general grace and to the head
poise which is so desirable, and never
for a single moment, if you have once
satisfied yourself that there Is no de-"
formltyof line, consent to have your
nack and shoulder contour concealed,