Daily Tribune, Terre Haute, Vigo County, 18 October 1914 — Page 27

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Broad Sashes Edged With Roses Define the HipsARose and a Touch of Fur Give the Completing Touch of Chic- Beaded Effects Fashionable-

Babyish Frocks for the Debutante.

BVER before has there been a clearly defined difference between the evening gown of sophistication for the mature beauty and the evening gown of innocent simplicity for the debutante as is this season apparent. Over in France the demoiselle is always dressed according to her years her sweet little frocks are as carefully considered by the couturiers—and dre quite as expensive also—as the more resplendent costumes of the married woman who may wear anything she pleases—and as little of it as she pleases.

But the American girl, even at the debutante age, has worn modes that in Paris or in London no young creature in her first season would be permitted to affect. French and English debutantes may never be taken for their mammas or their grandmammas from a back view—as is too often the case in an American gathering. This winter, however, the evening gowns are so brilliant with their bead and jet trimmings, so impressively elegant with their velvet draperies, and so daringly decollete with their bodices slashed away across the top, leaving arms, shoulders and even armpits entirely nude save for an apologetic shoulder strap of pearl strands or folded tulle, that no debutante could possibly wear them and preserve her charm of girlish unsophistication.

The dinner gown of Jetted tulle illustrates the foregoing. This beautiful costume, an American adaptation after Callot Soeurs, hangs like a loose sack, suspended by three strands of jet which pass over the shoulders, the top of the bodice sagging below the armpits and shoulder blades though at the front it is not so low. To the loose, sack-like bodice of jetted tulle is attached—without any sash or girdle between—the ripple tunic also of jetted tulle. This falls over a skirt of black chiffon draped with jetted net which forms a shallow train. The airy sleeves are of black chantilly and a little apron of the chantilly is gathered across the front of the skirt. On the corsage is a flame pink velvet poinsettia.

Another glittering costume is the dance frock with a Russian tunic on which are diamond shaped motifs of steel and green beads. The tunic is of black chiffon and is laid over an under tunic of green chiffon. The glittering tunic with its closely wrapping sleeves has something the effect of a serpent in motion as the light

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plays upon it. Below it appears a short cloth of gold dancing skirt edged with gold fringe. At the back this skirt dips in the point that is a peculiar fad of the moment. The decolJetage is also an interesting feature of this frock. Its square line with the rounded out opening underlaid with flesh-tinted chiffon gives a rather astonishing effect at a little distance but the shape of the decolletage emphasizes the Russian suggestion of the costume. Very different indeed is this sensational gown from the conventional evening gown of a few seasons ago. Dance Frocks Built To look Well In

Motion.

As the dancer whirls about the room in one-step or hesitation waltz her airy draperies take li.nes of grace and these lines are very carefully considered by the couturier who makes a study of chiffon, lace and silk in motion as well as in the soft folds that fall about the figure at rest. One of the costumes pictured represents this idea very successfully. The dance frock—for such it is—comes from Jenny and is a lovely concoction in pale gray chiffon and coral colored silk, the latter material forming the fitted basque-bodice and a short tunic that falls Aort of the knees. Over this tunic the folds of chiffon are caught up at front and back and under the floating chiffon folds is a petticoat of pink satin weighted with silver fringe.

The coral silk which forms tunic and basque is splashed over with enormous pale pink roses, one of these coming at the center back of the basque and one at the center front of the tunic, and at the top of the basque, above an applique trimming of silver lace is a yoke of pale pink silk outlined with silver cord. It will be seen that this frock is rather elaborate in design but its wonderful effect is produced when In the movement of the dance the whirling folds of gray chiffon and glints of pale and deep pink suggest smoke and flame. The Square Decolletage This Winter. "Square necks" are again in fashion and the V—at the front at least— has had its day. Many of the handsomest costumes are showing Vshaped neck openings, for many women find these most becoming but there is no doubt that the square effect is the more modern style. A square-cut decolletage is becoming to really few women, and then only when

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It is deeply square. The square neck opening, moreover, may not be worn as low as the style and still remain within the bounds of modesty, it is trying when collar bones are conspicuous or when the shoulders are bulky, and it does not give the long, graceful line that the gives yet it will have many adherents—as a new fashion always does, whatever its features of becomingness.

A restaurant gown of soft-finished taffeta in an all-over pattern of gray discs and scrolls on a tapestry blue ground has a very graceful square decolletage, emphasized by a big American Beauty rose caught at the righthand corner of the opening. This gown has a basque in puckered effect, the basque appearing to be drawn down, past the waistline to form the deep point at the x-ight hip, This point is weighted with a tassel of steel beads. The diminutive sleeves of this dinner gown are of flesh-tinted chiffon and though the armpit is veiled the effect is one of bareness at a little distance. With this blue gown is worn a very dashing coiffure ornament made of a jet fillet from which rises at the back two towering black ostrich feathers.

Velvet And Fur For Early Season Evening Wear. Many of the new dance frocks of tulle have a bit of fur by way of wintry suggestion and it is already evident that velvet will be in great favor for formal gowns. A costume of old gold velvet, draped with studied though seeming carelessness, swathes and outlines the figure in classic folds and drops across the bust from the right shoulder, to reveal a few folds of lace which form the left sleeve. The slippers to match this distinguished gown are of gold satin embroidered with gold beads.

For a debutante of the season-to-be a velvet frock of some interest has Just been completed for mark you, the debutante may wear velvet provided the dressmaker knows her business. Such a costume as the old gold classic model just described would be against all canons of correct form for a debutante, for instance, though a young married woman or girl iA her third season might wear it very successfully.

The debutante dance frock of velvet referred to has a perfectly straight, unfitted tunic, sleeveless and with a Vshaped neck-opening that reaches far below the bust at the front. Across the bust, under this startling V, is laid a modestie of white lace, and the and the armhole are outlined with jet sequins. The arms are absolutely bare—not even a fold of tulle or a frill of lace softens the hard line of the jet-edged armhole, an effect very beautiful against a young girl's fair slenderness, but one that would be trying to an older woman. The straight tunic is belted with jet sequins in a band seven inches across well below the waistline and then the black velvet tunic ripples to the knee over a narrow little skirt of white

TTae Simplicity of ttie-se Cla-s^ic Velvet To Id 3 BeiTPay^

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fringed with monkey fur. Against one shoulder is a red, red rose. More typically jeune fille is an adorable dancing frock of white tulle puffed in three tiers over a flesh pink silk skirt. Each tier of tulle is bunched up above a sash of palest blue satin ribbon tied in a bow at the back. One of these blue sashes comes just below the hip, the other at the knee. There is a blue sash around the waist, too, and above it the tulle bodice is the airiest, puffiest thing imaginable, with sleeves made of four tulle frills, each stiffened at the edge with white silk cording.

For an older woman is a dancing frock of sapphire blue taffeta shot with old gold. A twelve-inch flounce, applied to the skirt just below the hip, lengthens into a thirty-inch flounce at one side where the material forms a deep point over the skirt. The bodice, of sapphire blue chiffon over flesh pink: chiffon is outlined around the decolletage with tiny gold beads and at the waist is a girdle made of gold lace roses.

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as the first wrinkle. Woman may still be adorable with gray—nay, even with snow white hair —she may still sway hearts and wield the sceptre of fascination provided her complexion retains its bloom and fairness. Gray hair on an otherwise youthful appearing woman is considered these days to be beautiful—distinguished stunning but wrinkles are hopeless. Not even a raven black coiffure, or one of spun gold, or chestnut brown, can save a seamed and wrinkled face from being old and uninteresting as far as considerations of physical beauty are concerned.

Four things cause wrinkles: age, worry, climatic conditions and an animated expression. The cultivation of a placid temperament will help to keep the face smooth and unmarked so will dwelling in a locality where dampness and not dry winds prevail. Englishwomen 'have proverbially beautiful skins—and keep them until late in life, but England knows not the fierce,'

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l-IE Hrst gray hair—whose discovery is presumed to mark tragic epoch in the existence of beauty—is not a tenth as tragic in the opinion of the average woman

dry, dusty1 winds of New York and Chicago, or the arid winds of Denver, where utmost care must be given the complexion if it is not to wither and wrinkle in the thirties. Constant worry, as most women realize, makes provoking little lines in the forehead and around the mouth and causes the muscles of the cheeks to sag, destroying the youthful contour of the face. Sorrow does not make wrinkles neither does physical suffering but both of these rob the face of youthful curves and destroy its contour and freshness faster than years can do, by making the eyes sunken and old and by compressing the mouth into lines of age and harshness. Much use of the muscles—even the laughing muscles, in the woman of animated nature, tends toward making wrinkles —alas that it should be so!—and though the fine lines that bespeak a joyous, sunny, humorous spirit have a beauty of their own to eyes that see below "skin-deep" prettiness, their presence is most annoying to the animated one who beholds other women of her own age—stolid, placid, stupid women, mayhap —with unblemished complexions.

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iy before they become visible at all Thirty is none too young to begin a treatment to ward oft wrinkles. By forty, the little lines may have established themselves beyond repair unless the complexion has been taken in hand earlier. Wrinkles and all facial blemishes show up much more plainly if the skin is not perfectly clean and healthily fair, so a dingy, yellowish face should be guarded against assiduously. In cold weather, especially, the face is apt to become grimy because the skin is not naturally cleansed by perspiration from within, and ^because harsh winter winds and dust come in contact with the face whenever one goes out of doors. Therefore in winter extra care must be taken to keep the face exquisitely clean and delicately soft. Soap should not be used on the complexion, except perhaps once a week when a thorough scrubbing and steaming are given. Cold cream should be well rubbed in every night before etiring and the face bathed afterward in hot and then cold water. This cold cream treatment will not remove I wrinkles, but it will keep the face in such condition that they will not form as easily and can more easily be eradlated.

Wrinkles, unless too deeply seated in a woman past middle-age, will usually yield to persistent massage treat-

Preserving with fingertips the delicate arch of the youthful eyelid.

MAGAZINE SECTION

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ment in conjunction, with some gooa skin food. Here is an excellent recipe for skin food which will cost much less than a ready prepared article for a good skin food cannot be had for less than a dollar a small jar, and sjich a jar will not last more than two weeks if the face is massaged p" quently enough to prevent wttnklW-*-

Melt in a porcelain saucepan halt an ounce of white wax, halJ^ani^cjjnc of spermacetti, an ounce cf cocoanut oil, an ounce of lanolin and two ounces of oil of sweet almonds. When melted, remove from the fire and add an ounce* of orange flower water and three drops of tincture of benzoin. With an egS beater, beat and beat this mixture until creamy and keep it in sealed jars in a cool place.

If the face is bathed every mornlnf in a cupful of fresh milk into which a teaspoonful of table salt has been tossed, the muscles will tighten and sagging lines will disappear.

Massage should be given with the tips of the fingers and the eff should be to move the muscles under the skin—not merely the loose skin on top. Work crosswise on the forehead from center to temple. Always massage lines in other parts of the face at right angles to the direction of the line and outward and upward with light, firm strokes, and not too lonff strokes. With the elbows lifted, turnthe hands palm upward, thumbs pointing toward the front, and draw the fingers beneath the jaw, from center outward. This counteracts the ten* dency toward double chin and sagging cheeks. Did women but realize iag-

That sun-scowl wrinkle should not be allowed to spoil a pretty face. ging muscles make the face look older than wrinkles do. With fingertips against your temples, pull the checks upward a trifle and see for yourself how instantly younger the face appears.

With thumb beneath the eyebrow and finger-tip above, define the arch of the upper eyelid every day. This beautiful arch of the eyelid is always seen in youth. Wrinkled, flabby, or swollen flesh above the eyelid always gives a look of age. The third picture shows how the vertical scowling muscle over the nose may be corrected and cured by stretching the skin and applying adhesive plaster at night—• after a thorough massage with skinfood.

Always hang a broom or stand it on the handle. When it becomes worn and the straws are turned, stand it in a pail of soap suds for half aa hour. Then hang it out of doors id thoroughly dry.