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The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, February 27, 1910, Image 14

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French Fashion
Notes
PARIS, Feb. 17.
pr-iHE wlilte sales have given im
' I ' petus to the designers for fash
| ioningr sheer batistes, mull and
linens into attractive lingerie
models. Dressing sacques.ar* being de
signed in sheer white batiste, with
flower designs worked in coarse linen
thread, the coJor of which Is again used
for the buttonholes and scallops. Many
cxc ot pale rose with pale blu© flowers
—a combination that hints of the colors
of the empire.
The hand-embroidered corset cover and
petticoat in one is the favorite garment.
It is easily made, and the- slender lines
aad subsequent good fit of the outsld*
skirt are strong recommendations. Th«
white sl3c princess slip, with Its adjust
able lace-trimmed ruffle, is another
model enjoying high favor. The Unyerls
ruffle Is unbuttoned and washed when
necessary, while another style of this
convenient idea may be substituted.
Sleeves of the newest models of
blouses and dresses show a slight ful
ness at the elbow.
The hats to be worn, with the slmpl*
costumes for spring and summer will be
large. There is little trimming on these
shapes, the ornamentation consisting" of
a cabochon of frilled lace, metallic ril>
boa or a panache.
A etunnlns model of old-gold straw
faced with black velvet had a. butterfly
of black lace on the brim. Lace roses
ere also shown In astonishing natural
forms on large black hats. Indeed, the
large shape of black or white straw
trimmed with lace on crown and brim
Is gaining the approval of well-dressed
Parisians. Perhaps the fact that either
of these can be worn with any color is
a, point In Its favor.
An attractive Lewis model was of
black straw, its crown of chantilly lace,
vrhlch also was used to drape the brim.
A decorative touch was added to the
lace, by the way, as only the French
can give it, in a tracing of heavy white
thread that defined the design on the
black lace.
Meteor and all clinging materials will
be used for the costumes for formal oc
casions, while basket weaves in the
coarsest threads will be in vogue for the
simpler models. The coats of these suits
•will be short. The separate coats still
remain long.
Biscuit color Is In great demand. Of
course, it is perishable, but dear to the
heart of woman. When this shade forms
a background for a cross-bar of old
rose in a thin line it Is fascinating.
The "costume de ville," or what yoa
call the shirtwaist suit, is enjoying a
few attentions from master hands.
BELTS TO BE WOBN
Drecoll shows an early spring model
of blue serge with black soutache as
trimming. A patent-leather belt four
Inches wide is the other feature. These
comfortable little dresses are often made
without collars. Gray in all the .grada
tions is used by this maker.-
A deep hem reaching to the knees is
used on many skirts of afternoon models.
Do not forget that the straight, round
length is the thing.
Black mousseline over old-gold satin is
the favorite combination for dressy aft
ernoon gowns. One seen the other day
at the Ney sisters' establishment was
cf this combination. The overdress was
simplicity itself, but the undwblouse
was elaborately trimmed with gold lace.
A oeetp ruffle of cream net finished the
collarless top, and the sleeves were
three-quarter length. A deep hem of
catin reaching to the knees was used.
After the tied-in and draped effects it
comes as a quiet relief.
Lingerie dresses are very attractive.
Wide bands of th« material, heavily
embroidered, are the- effective trimming
i-.sed on most of these models. These
bands are placed on the bodice to give
a bolero effect, one of the new lines for
spring and summer. The skirts are full
and round length, the bodice and sleeve
in one piece, and a bright ribbon girdle
four inches wide finishes the frock. Over
here the princess models are conspicu
ously absent. \u0084
At the "Athenee" a most delectable
toque was worn by one who has the
professional status to set the fashion.
It Is an Alphonslne model of the popu
lar turban shape, of £reen net, covered
with gold tulle. An aigrette is placed
on the side quite low down under a cbou.
There is a long end of tulle, on the end
of which is another chou. This 4s wound
around the head and fastened above the
other rosette. You can imagine the in
terest displayed by the feminine part of
the audience, as the final touch is given
by the clever hands of the actress. Of
course, it requires a deft manipulation
to secure Just the proper twist, but you
can trust the Frenchwoman to master
the art of attaining becoming lines while
you wait. ELOISE.
Walking Costumes
- r»i attempt to shorten the walk
l\ ing frock and at the same time to
*\u25a0 •*- narrow the skirt Is doomed to
failure, because the figure of its wearer
must indeed be beautiful' to withstand
the grotesque effect produced by the ap
pearance of a princess dress brought to
a su(idt;n and inclorlous end.
The skirts of walking costumes must
be full, then; to be graceful and be
coming. They mast be of a length that
'escapes the ground, but you must not
err on the side of extreme shortness, as
ih<? foot, above the ankle. Is not at
tractive.
Cua.ts.of these walking suits should be
plain, or singly* trimmedwith bands of
braid or lur. The "desire for ornamenta
tion" should be 'submerged In the pri
mary use of the suit.
A lovely example of ; the white walk
ins suit, which has taken Paris by
storm, is of -cream homespun, trimmed
with wiOe cord . that edges, the collar
and cuffs and ornaments the -front of
the double-breasted coat, almost in mili
tary lines. *
The skirt is made with a pleated
underskirt, over '.which'" a, square tunic
drops. This opens at "the side .and is
treated to tho froglike ornamentation of
the black cord. •\u25a0\u25a0. f
An idea for any. light-colored walking
cult for the cool spring days.
FOR THE HOME DRESSMAKER
THE KIMONO BLOUSE AND HOW TO MAKE IT
MOST interesting Is the news from
Paris about that odd little gar
ment, the kimono blouse. Sleeve
and bodice cut In one is not a
new idea; all varieties- of the mandarin^
the kimono, the raglan and the sling
sleeve have but lately been abandoned
after a successful run. It was not to
be expected that they would return so
soon, but the -tendency toward peasant
fashions has brought them In.
The kimono sleeve, belonging to the
blouse- which Is now a Parisian favor-
ite, is the simplest possible type wa
have known. It may even be called the
primitive or first sleeve. It dates back
to biblical times, and by the same pat
tern (if pattern there was) has been cut
the infant's slip or nightgown and the
easiest known doll baby dress.
The diagram accompanying the blouses
Artificial Boutonniere
THE French mode of .wearing arti
ficial flowers on the 'street cos
tume has; for. months been knock-
Ing at our doors, and at last has been
accepted \u25a0 with a rush. >
American women have been preju
diced against the doth or silk gardenia
or dahlia, though why we cannot ex
- plain to the astonished 1 Parisians.
"Why, madame, you wear no real
flowers on your hats," said em
phatic Frenchman; "yet . you will not
bring the exquisite touch of spring
down to your coat!" And when 'we
consider what that means it gives us
an appreciation ' of the possibilities of
the boutonniere.
.- It' will not wither, and gives Just a
suggestion of relieving color below the
. face. . -i -
Camellias " streaked with pink, white
gardenias surrounded with waxy leaves*
or violets that are scented in ~ their
never-fading glory are -the . most fa-
Of course, in the selections- of' these
flowers it is cheaper ;to pay a -high
price, which sounds paradoxical. They
last a longer time andUook"; eminently
better than the cheaper grades. : The
coloring is always better in the more
expensive varieties, and-though'decep
tion should not be encouraged in dress,
there Is an attractive freshness of the
higher-priced flowers that Is second only
to the real thin^. • . \u25a0\u25a0;- \u25a0.,••-
Comine: Fashions
THE princess dress of last summer is
predicted; in fact, -it* is "with us
in somewhat scant numbers, - but
in beautiful materials. ~ --'. Let a ' little
secret be told to the discfeet, ; to .the
discriminating buyers, who •\u25a0usually
profit by what they learn. The fashions
which will be most likely, to "winTout'are
those— among '\u25a0 the advanced showing— \
which are made "up In f the most .ex
quisite materials. Modify : them "as you
will In your own garments, but . cast
your eye in the direction of the; very
best when you are but in . search of
ideas. . \u25a0 ' r '
The princess ' garments, about which, S3
much was said and thought last; sum
mer, seem to be bidding - for * standing
room again. (Only the* best among
them were_ made" with^walkingsroom.);
They have arrived. and : are. made up In
the sheerest lingerie linen and - batiste,
heavily; embroidered, which vindicates
their position at once. ;\u25a0 \u25a0 ."."••'.•'
There is, however, a choice ; of-' styles.
"Some of the best are made with front
and back ; panel and with :-' a . belt under
each arm at the - normal ' waist line;
Others are • the \u25a0, complete '; princess,' very
nearly approaching a close flt.v Again. 1 :
-the summer frock? is girdled .With a
plain, flat; belt' of -l.oce or embroidery at
the.old and : normal i- waist | line." There
are so many women, and they have such
varied- taste, that . there » is ; : room', for; all.
The one-ptece garment. -whether p'rln
-cess'or joined with. a belt, : is the f ac
:cepted garb.
on the page will give an adequate idea
of the construction. It is' shown in its
sewri-together' '.form, ' with a' single,
stitched • seam -under -each "arm arid"
again in the back. A single piece of ma
terial is folded , across Its;width and ,a
round or oval ' opening ;is then cut for
the neck.' The corners; are* cut away,
leaving sleeves •of any -desired length;
but their, final* size is dependent : upon
the width of the material, or upon the
additional pieces sewn" on by- way of
decoration.
Although the kimono-sleeved .blouse be
proclaimed • primitive and"- simple' as . a
type, it holds 'pitfalls for; the amateur.,
"Sew it up in one seam' under; each
arm" sounds /easy enough, but- first
get your curved line on: each' side. \A
too-sharp corner will draw, first, and
tear afterward. \u25a0 There ~ are ' several
ways of obviating, this difficulty. .The
material is basted under each- arm -ac-r
Wraps 6t Satin
SOFT. satins , which are so woven. that
a fugitive' coloring is the . main fea
ture are" the favorites for evening
cloaks. 5 - -
There is a new 'and beautiful decora^
tion usedon .'one 'Of these satin. models
Just over, from Paris. ' It is a long panel
embroidered with;, soutache. It .reaches
from the collar down to: the. lower edge
of. the cloak. s WideV bands ' edge the
loose sleeves, " which follow Uhe' line of
fashion arid are cut in one pl£ce ; wlth
the rest of the gown. ; -.. j~.
, The lower ends of the wrap are draped
up and caught under the broad band of
the panel." .. ; ; - ,r . '<-;. :': ' - \u25a0>.
\u25a0 A straighthigh' collar, of 'embroidery is
a fitting top'- for • the coat, .which\is.but
toned by black. velvet'dlsks and cord.
Charms ofiSimplicity
IT IS. a : relief to': find that -among ;the
. new; evening/ frocks -there • is a ; sug- • ;
gestion of simplicity. t Of .course, , the ;
elegance of ; the ,i elaborate j, embroideries =
arid combinations "ot- materials \ \i tempt-"
ing; but invariably^ expensive;^ and -there- •
fore beyond \u25a0* the '5-eachT of Uhose * wiio •
must consider the 'question of ways and
means." "\u25a0 '/'.-' '-.'--. /'-.;' r-' '.;,'.\u25a0.• ;., .\u25a0
> Soft ' satin seems" to r be T'ari'.'ldeal " ma
terial',for.;simple; evening, gowns; '.One .
beautifully designed' model relies almost
entirely upon -folds .to gain; a (charming
effect./ .The . bodice «ls;< of xourse.Mlow-;
necked, but it -is : pointed 1 , in? cut,- this fj
shape being 'secured-"b y" \u25a0 the tcrossed
folds.;- ..--.• - ' '.•••\u25a0\u25a0,:;„\u25a0 i-s--~- ,'•-•-.,. \u25a0\u25a0"•^
. The sleeves-are of draoed folds of. sllk."v
Just \u25a0; to >"• relieve any emphasis »o n. this 'j
idea.; wide ; bretelles iof-j.satln.t. braided:
with • narrow, sou t ache" in a \u25a0 large, \u25a0, effect- ,
ive '\u25a0: design. «:pass H ; from '*. the t < irregular^
waist line over, the'shoulders.' .The'walst
line'is secured by" appointed skirtline at a
the- top/-' which , is -1 ornamented s >.with>a-,
running design t'of ibraid,*' and* gives "just ' :
the -right amount; of "decoratlonr for this:
frock.--' '-.'::"\u25a0'\u25a0'- :..*,v ; ••: \u25a0•-''\u25a0-.•.\u25a0.:.'• :-"\u25a0 --\ - : : -\u25a0\u25a0'•*^.- ; '- i .
\u25a0 Simplicity is 'certainly a safe; side .on",
whichkto err. -There"- Ist always, a- quiet',
satisfaction', in;, the. r recognition •; that a\
simple \u25a0 gown worn 1 with '« grace . and '{ "an
air" Is appropriate oonvany,*- 1 occasion,^
whereas , overornamentation*;; frequently;
means : discomfiture > on ," the * part •\u25a0 of the
wearer.^ \u25a0\u25a0;\u25a0 \u25a0;-.\u25a0\u25a0 '-.:-. "•*•;>'.•;•>! v\u25a0 - * - : .'--' . ;
Puffs; as Trimmings
PUFFED i material ' appears las \u25a0' trllri
. mlng orijmariy f * of • the" best
in varying fabric l and r for] different
occasions. , .' puff *: is i' T distinctly}" new
as"; a tunic r edge, y and {those ' of chiffon
lend themselves well to
this decoration.' \u25a0,\u25a0.*. \u25a0""\u25a0 .. . ';. ' .U .
White" dresses • of < mull "and i batiste ex
ploit , the pu.T;once,more.\;lt ! appears. be- ,
t ween rows of "lace % insertions it ' edges *=
the ' fichu and .; the i chemisette '\u25a0 and 1 heads
thejlace :" flounce: of ? the! skirt., r; ; >'.;
''\u25a0\u25a0 On^the^ velvet 7 collars 5 of.' evening coats
the puff i fourc inches AwideYof '• the "same \u25a0
material* proves ; a" rich 5 finish • In , the fa.b-7;
sence- "of. f ur^andtisimore! readily sput r ori;
than .an \u25a0' equally .7 effective 1 quantity," of ;
embroidery. ; '""^lsHHEr!*.'- *-> "
\ cording "_to: the seamed, garment of the
diagram.; ' ItV is tried ' on. ! and with j the
first suggestion of drawing— immediately
under, the arm— tha . basting is clipped
and the : seam Is allowed to 'spread
apart* Into this^ space Is set a diamond
shaped piece or gusset which will give
the"necessary room. for. arm movement..
Another method is the Insertion^ of fan,
urider-arm gore. •', Either, one is chosen
\u25a0• accordingr to;,, the • requirements of the
Individual figure. \u25a0 . .
Some' persons"* have not the slightest
difficulty .'wearing -the kimono cut of.
blouse,- arid the ; amateur or professional
dressmaker having the least: trouble
with this eleeve is she who allows plenty
of material and who drapes the material
upon its" wearer-to-be and.fits/it upon
the living : model.' It should be ; securely
? pinned . beneath ,the, arm and on to its
1 belt i before ; It is actually cut out. I XV ';
Inf.-- Paris .the .simplest of kimono
blouses sells for $5. and in its more or
namental state for. $10. \ ~ -
'•Would you make"! one for a . minimum
of .that, price? Here are' further dlrec
tione/v that you \u25a0' may know exactly,, how
they are worn. {Paris Indicates any of
the diaphanous materials for ; their, con
struction.. This : blouse should match
the 'skirt! and it must be worn over an
other bodice :of filmy linen or ' of lace
run wit h ; gold thread;
• Chiffoni mousseline,' tulle and voile
de • nlnon "are the': favorite kimono
blouse; materials, except^ for those more
economical 'women /who ..desire to; sub
stitute the; heavier* satins, pongees and
linens matching their spring skirts. ; ;
1 Now. let. us take up -the examples
TKerSeparafce Tunic
THERE are some slriiple little frocks
; of \u25a0 ivory-white ' satin, * or v even, of
. soft muslin, that are . claiming.; at
tention these days, ' for ! they . form ' back
grounds, for. new Ideas in tunics. , . *
vThey •; are made with ' perfectly plain
bodice \u25a0 and ; skirt, ; the : lower* edge of the
flatter., finished '.with two * or,' * three
flounces.' " , . 1 : '
•Over -this- foundation- the separate
tunic is slipped. <It is of chiffon, em
broidered .; gauzei-' silk net or heavy . tulle,
and ris = belted "In; at f the waist line. The
law;, neck,'; sleeve I line 1 ; and ... border ;. are
edged 7 with a \u25a0 band '"of soft " satin ; that
. matches jthe' shade of the tunic. ;
'\u25a0 } " Frequently *-i; these '^'tunics are elabo
rately ; trimmed > with ; braid; silk embroid
r cry or' buttons^ They i are j easily > made,
...and giveja' distinctly new i.touch' to the
*gownfor 7 afternoon or;evening.- . ' »
oNE,cleveri.woman;has met the.de
\u25a0 mand" for,?a va'rlety/of .blouses by
\u0084.. \u25a0 i makinglaUria.ctivefadditions\to her
; ; : neckwear. 1 ;;) With^f: these ?dlfferent i fluffy.
V forms \u25a0 of Uineh y and; lace ; a • qulck?change
; can rTbeji made] with J results that ; are
.'.^satisfactory^? from'*/ the V standpoint •>- of
: good^and i appropriate^ dressing.
•, v*~For; jthe'ifoundatlon'i of l this '< little play
sliduld'b^ajblouselbullt;^n plain
'\u25a0}, lines,';, iith . fine i hand-run^tucks * on ; the ;
J'Jbodice U andj- sleeves. ;-A 7 ; ; perfect ;^nt^ is
/ ; ee sent lal.' ; and it'wbuld pay "theTwearer to
devote ''considerable rtlme^to^ the) cause ;
' T ;bf^Hries^ ;^u«^av^gge^lbn*bf;; ; fin^^
«'• lace of ;an^ unobtrusive Tdeslgn,* capable '-.
shown in the sketch. The- white
pongee blouse worn wlth ! the Pier
rot ruffle of dotted tulle fastens
down the front 'and is trimmed
with a fitted band, upon which are
some long stitches in Japanese
work, done with heavy floss. "
The pearl gray . chiffon blouse
below it is. WDTn* over -a more
closely fitted lace garment, anrl its only
trimming: is a binding of bias gray vel
vet round the yoke lino : and on "the
sleeve. .It fastens at the back. This
blouse is typical of the whole line of
chiffon kimono garments that : match
their respective skirts.
A corbeau blue voile de ninon is. worn
over white tucked material. It has 'been
embroidered with .the same, dark-blue
silk. v both matching a" broadcloth skirt.
\u25a0 Even \u25a0 more ornate is- the- ;old-gold
satin blouse soutached with 'braid the
same, shade and .edged "with bias -black
satin; Embroidery in gold squares adds
elegance \u25a0to the - whole, ,. which is. in
•\u25a0•'..-. J \u25a0•>.•!•• "". «V. -: \u25a0•-'\u25a0\u25a0•-•: "\u25a0•--?- - \u25a0\u25a0...„....•:\u25a0 r.-.s.
Arranging a Scarf
A PICTURESQUE result is obtained
on many gowns by a masterly ar
rangement of scarfs. . These may"
be of crepe de chine bordered with a
deep : fringe, or they may vary from
heavy silk to the lightest tulle or.net.
But in the draping of ;the 'scarf lies
the making of \u25a0; a gown, and the main
point to be observed is' the individual
requirement of the ;wearer.: .
' Experiment until every good point is
accentuated and. every defect, of line
concealed. When it is intended to drape
a slender figure, ~ a result , can be ar
rived" at ".by -securing" the"; scarf in a
poln t fat : the .b ack; and passing it . over
eachvshoulder through;- jeweled clasps.
The > draperies =• can ; then be ;' crossed -in
front \u25a0'\u25a0: and -held by ': a buckle: on each
side. From: the girdle" the ends should
fall in - straight lines -to the hem of
the ; skirt. • • '-[_ '\u25a0 \; ,-.... . v -;
>. Secure '".' a \u25a0'; comparatively plain -* frock
and a \u25a0 long, well-arranged scarf, . an.d
the result is In your hands. ; ..
'wmMfMF^^^^^w^Mmm^^^^^^^m^m
of -being; allied with ; any other • kind
of lace i arid edging. *is permissible." " j "
.'*• The *. plls'se ' of ; fine : mull pleated and
edged* with '; lrish \u25a0 lace^ ls attractive and
gives 'a^ side.decoration lthat : . should tap
peal <to the heart of any manager.' It
is at-onej side of. a band: of .insertion
and "can - be \ attached at the collar line
arid', belt;* S \u25a0--', -7 \u25a0\u25a0';. -.'\u25a0"; .'- \u25a0-
~ Enter... the >. embroidered :-collar.l.' and
jabot.T; Of £ sheer, .'-inon, it ilsi decorated
with £ solid ; embroidery,^ and f the? double
v- The San Francisco Sunday Call
reality; part .of a gold-colored satin
gown worn over cream-colored . tulle
dotted with gold.
; Black T, chiffon has /been used -for the
Identical model, with the whole, under
garment done in cloth-of-gold. '
'It must be remembered, without, fail,
that this very limp garirient Is always
bound or. biased round -its 'edges with^a
heavier material, and that trimming im
proves it, because of the added strength
and body it 'supplies. '
It ( is' frequently necessary to 'tack: the
blouse to its • undergarment to .secure
its position. Only on the most compact
of . figures may the kimono blouse be
worn as a separate garment.
The New Flat Hat
WOMEN clamor for s6mething new.
' and as all millinery modeds are
- more or less extreme there are
some feminine heads that are not fit
tingly arrayed in the accepted shapes.
Paris has come to the rescue and aid
of those who want a change of head
gear. The new hat^ is a large flat shape
unrelieved by ; any perceptible crown.
Whatever." crown there is appears be
neath- the brim, . thereby enabling a sure
position on the ; curls under it. .
Its , unbroken surface has secured the
name* of the "plateau", hat for- our
latest. When developed; in black- panne
X is most becoming to women.- who have
soft features and who can. carry. well a
long,- sweeping line'; at*' the fQrehead. '
Fur, as a band. Is used, to define a
crown. .Atone side. a. bunch of hand
some ostrich plumes-t owers and pro
duces the effect of height, v -
effect is pleated and falls fromthe front
edge.. ' Aj stiff, tailored Ideal: is given by
the adjustment \u25a0of \u25a0-. this • piece -of '\u25a0 neck
wear, \u25a0 offering :an appropriate addition
forVmornirig;wear.v'-
T r A 'stiff, crisp collar- and combination
of a; pleated "end" with,. a, frill -comes to
the .'rescue " tor ,one_ .who . wishes > the
tailored'' suit to . be brightened >byja front
of white ;llheri. This might; be 'made'
of; a fine embroidered handkerchief com- 1
bined with -heavy -'insertion and* lace.
Characteristic ,
Clothes
/ / tt-v ON'T be a slave to fashion
• I 1* anc * dress In becoming
| 7 clothes." This from a fash
ion expert, although hers I 3
said: to be the business of exploiting
all that is "late." no matter what Its
value. ;The accusation, for such it is,
is : scarcely , a just. one. Is it not high
ly likely that the expert's la a dis
criminating eye? And can it not be
Imagined that among such multitu
dinous fashions she marks the worthy
at a glance? She does not thrust
them all forth with the stamp of her
approval. She as frequently con
demns. She has been known to
ridicule, and certain it is that sha
chooses.
. The modistes make fashions and they
try them out upon a Parisian public
made -\ip partly of Americans. The ac
cepted are spread abroad for the trade;
but it is whispered that the rejected
go somewhere, and we are- supposed
to have been treated to those as well
as to the choicest.
Fashions that deform are not to be
tolerated after the shiploads of reject
ed hats dumped down upon U3 last
spring - arid summer.
' '.If .surmises were correct as to their
origin, it is hardly likely women will
again make themselves ridiculous.
There is dissatisfaction even now
in foreign capitals because of the de
crepit attitude produced by the tied-ln
draperies, and neither the larga waist,
the sloping shoulder nor the pulled-ln
chest has met with "approval.
There is art in knowing when to wear
the .panier. It was never, for a
moment, put, forth, as a model for the
cloth costume, although some dress
makers'have tortured their patrons into
it for street wear, and supposedly
knowing women have accepted ia it a
garment so defying grace and motioa
that they would not have been \u25a0 abl»
to save their own lives had an ac
cident demanded haste.
The co-called narrow chest and. flat
bust fashions are those providing no
fulness of pleats or gathers across the
bust. They belong undeniably to the
perfect figure, and unhappy will be
the slender woman should she attempt
them.
THE NECESSITY FOB GOOD
FIGURES
The appearance of sloping shoulders
Is caused :by that cut of garment in
which the material Is draped rather
than cut out by a pattern. The no
shoulder-seam affair. the raglan
sleeve and the Bulgarian shoulder will,
any one of them, bring about an un
desirable narrowness unless the wearer
be provided by nature with an ample
shoulder breath.
These are not the only fashions, and
It amounts to foolishness to follow
them like sheep. Never has there
been a time when styles have been
so generously bestowed. Each Indi
vidual may find, without the slight
est trouble, just such . designs as will
best bring: out her beauty and con
ceal her defects.
Fortunately, we have not adopted
some of these deformities to the ex
tent that Frenchwomen have. Amer
icans occasionally make lucky es
capes through the failure of a fash
ion to reach these shores. No mat
ter what awful things have come
from time to time, rest assured that
other arid worse . horrors have been
escaped.
It : is not good taste to dres3 in an
extreme way. The excess of a style
should be shunned. It, may be left
to the more daring! whom the more
conservative actually pity.
y There was quite some occasion for
pity when the hat of the spring- of
1909 enveloped the woman. Let us
hope she will hold her own in the
face of the coming: styles, which will
soon.be upon us.
For a Black Hat
WHEN deciding on the trimming
for that black velvet hat hearken
/ to that little voice from Paris.
The. very latest idea is to trim the
shape, which, by the way. is turned up
at the back, with a huge bow of cream
colored silk. •
This * white silk is brocaded or em
broidered with old gold and rose silk.
and as a last touch a narrow band of
fur. is placed on each edge.
The • end of the frill reaches halfway
to the _ waist, and offers to peep out
from' the reyers of. your tailored Jacket.
. \u25a0 if " a." 1 new: nont= effect be wanted, the
high coUar of tucked net and lace, with
its broad .'ace* arrangement, can be
placed -over the plain foundation. Tha
wide; band in the center nolda the
side 'frills of net in lovely lines, and so
: broad. Is' this neckpiece that the "ap
pearance , of the- blouse 13 decidedly
changed. * . • » "*S . » .
'AVith the varying of the neckwear
there is possible a grand transformation,
too §>ood to-be' ignored « by .'. the woman
\u25a0who counts : variety * a valuable factor
in her. wardrobe.

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