The Intermountain Catholic. (Salt Lake City [Utah] ;) 1899-1920, 1902-05-24


worth a great deal to the average
woman-to be able to examine them. to
handle them, to know them, to under
stand that every development is a for
tune to the manufacturer. The privi-
lege of putting these artistic creations
of Paquin, Doucet, Deulillet, Francis
and Collot before our readers is unique
only because Paris has not yet become
familiar with these gowns.
America gets the best of everything,
and gets it before other people. Even
the French gowns are seen in America
before Paris gets a view of them. The
new things are made and sent over o
us because we are ready pay for them
whenever they are good. French
women have to Wait-or usually do
Wiat-until their necessities require a
new gown. Even the wealthiest do not
have new gown for every occasion.
We are more extravagant, and the
/ French designer and style master is
particularly infatuated with extrava-
CANT people. Now let us see what all
| this story is about
1t says, first, laces and embroideries,
and, by the way, embroideries more
than laces. The embroidered effects,
the handiwork effects on silk, cotton,
linen and even on WOOL are presumably
the most desirable ideas.
IT we study these new dresses we
find that the new laces are embroidered
laces, and not mere threadwork.
In the Paquin dress the material is of
an exquisite silk grenadine, heavily
embroidered in roses and leaves in the
Louis XVI style, these embroideries ris-
ing above the surface in heavy incrus-
tation in rich and glossy surfaces. Here
is a new thing for you to understand.
1t is the coming of embroidered and
brocaded fabrics
The CollOt dress, with its drawn rib
bon through worked eyelets in the skirt,
has similar lacings on the sleeve, al
ways ribbons in rose color on a beau
tiful white gown. The embroidered
openwork and lace collar and sleeve
trimming is antique-that brownish
cast which gives an added richness to
the body of the gown. The gown itself
is of pineapple embroidered heavy silk
chiffon. 1t is embroidery dotted here
and there, and has thistles strewn over
1t in antique-yet en- nouveau-pattern.
The WallenStein model is a linen
gown, and has superb fine embroidered
garnitures in most tasteful, vet effec-
tive design. The black, red and wellow
of this renaissance style on the linen
gown give wonderfully neat and rich |
effect.
The Deuillet model has a coat-Louis |
XV-of striped taffeta silk. The col |
lar is of mosS-green velvet, as is also |
the sash waist. The skirt is of green
ish tan etamine and is made by the
who fasten the forms
with garlands of richly incrusted rose
patterns in raised white or ecru en-
broidery. Yet how carefully and beau
tifully the pattern is carried out in
this gown.
The great growth in popularity of
linen fabrics is particularly to be COM
mented upon, and altogether the entire
effect and idea of the new gowns is
tender, delicate, soft, and
feminine.
The introduction of embroideries.
aces insertions, and fine needlework
S the most beautiful idea connected
with the new mode. 1t shows a return
20 those principles of handicraft which
ire educative and which are product
We of the really artistic effects in
lress. You know there are those peo-
Die who carp at the idea of real art in
,ostuming, and yet these same people
will maunder over bad paintings, poor
and worse literature The
eally artistic world understands that
themselves.
Don't believe dear madame or carp
ng reader, that fashion is matter
f chance. No longer is that so. It's
matter of a combination of decision
y the association of the best thought,
tudy, taste and criticism that can be
ut into the subject by men of mind
nd men of talent. new thing is not
ut out just because it is new. 1t must
e at once practical, tasteful, beauti-
I'll, becoming and have intrinsic merit
s an article of wear
In the old day. many trashy, worth
ess, so-called fashionable forms were
oll3wed blindly because there was a
which commanded that such
1ings be worn irrespective of their
tility. When today we hear of the
of hoopskirts, bustles, =
rinolines and other unnecessary adj
NETS and materials, we are immedi- S
tely ready to say that such things will
ever be worn again. We live in an K
"a of common sense-even though it
= seemingly an era of extravaganza.
The freakish, the bizarre, the unnec- n
'sary, the grotesque will never have y
hearing again so far as womankind =
concerned. In the first place. they 4
ould never again be urged because
e men who make the fashions are too
Use and too sensible, as we'll as too
telligent and broad, to ever think
styles.
%
But again our fairy story of ribbons,
Id mousselines, and laces, and chif-
ms, and butcher linens. and piuues,
Id batistes, ald the other things
hich go to make up the summer sea-
n.
There will be more and more laces
r whole dresses, whole lace robes,
hole lace wraps, waists. skirts, and
multitude of new affairs lace trim
I'd and lace appliqued which will
mmand the attention of the French
dressed woman who particularly
lights in rich, artistic, and expensive
aterials. Her sister of the simmer
cketbook will see fit to confine her
tention to less extravagant fabrics:
the fine French black laces
e found to be inexpensive, though
sh in price. inexpensive because
ay wear so well and give such an
lount of use. Economy is, after all,
great factor, and the delicate lawns,
iffons, linens and batistes with
nted figures are decidedly inexpen- In
e, because they wear so well, are so -,
autiful, satisfactory for so many O. q.
rposes, and give such excellent long ~
vice with even the average careful "a
ar. MARIE TOURS.