The Marion daily mirror. (Marion, Ohio) 1892-1912, 1911-03-11

conventional fashions, that are at oueal
simple. pretty and becoming IL In far
SAFER to adhere to these unless she in -
tends to seek the aid OF a speci aIirt I'M
chalacteristic gowning. which is of
nec'ss ssity a most expensive extrAvn-l
gance' inasmuch as even a hixh-ojssr
designer OF robes is quite inadea,,ete ~
| tof this special phase OF dresains r.,
| requires person with the abilitv anX
| WtultlFe knowledge OF a painter. one
competent TO judge OF light and shade.
ndss me and color, in relation to thst
.sotaHty OF the particular person !.
VINO IL TO wear It, and how nanvt
dressmakers even consider the Iirbtj
ana shade OF person? Their an, oon
Germ rs to turn out something fashion-l u
aole' or at most they consider only
SIZE ahu general color; that is, whsthert
"a person, oe either corpulent or slendsr..
tall Or Fhort. blonde or brilnette anHN
possibly the color Of the eyes. althoush
very rarely does one find ali OF tbesl
details considered by one robe maker
occasionally one win consider tertiIrs'
put put most frequently one thinks only OF
ln" general color Of the cloth. choosing
WnoteNcr material happens 10 he fhe
novelty Of the hour or. n OF an .co-
nomlcaI turn of mind, whatever IL the
greatest bargain regardless of texture.
weave or becoming quality. n
As Nine. Cheruit, the great French,
~, u,YSIsneI OF drustic gowns, has said.
| 'ldealiZe your lines" study ths'
women painted by the old maateys .nd
Tor draperies contemplate the liuss %
sculpture, the drapery emphasizins =
ana revealing the beauty Of tha figure,
fether than Concealing IT," EspeoiaIiv
excellent Ia this advice when appI,ed
to house gowns for with them ons,
may take unconventional liberties that
although very beautiful would be- onts
or place I'm formal toilette
DeightiullN girlish is the little frooIrs
depicted IN the first drawing az the left
~ ueNelpped IN rose colored Persian
T,hiuon cloth, combined with bands Of
riet lace and an under slip built oil
white silk mousseline In simnia E,,,
pre- style. The tunic is especially Eoodl
III Ilne and is decidedly new in tvue
CUT snort In front and ourving down in
long graceful line 10 little suusre
cnat tall IN the back reaching nearly
10 the hem OF tho skirt. The sleayss
| are cut In, one with the upper rortIoy,
or the tuntc and the front OF the bod,cs
| is caught together by three rhiuestoos =
Clasps. Five strands OF silver rope aIr6
IN the tunic. disappearing beneath the
ns ana fastening with rhinestone'
Many OF us remember with regret ourr
departed school days with their lovely
httle frocks OF challis and Cashmere.
ana II VIII be a delight TO know that
inns niue reminder OF the quiet period
OF our lives has again come into its own
ana that some OF the smartest frooks
are developed In these long forgotten
tahrics. more soft in color and texture
than OF vore. II
one very stunning model that hss
Just arrived from over the seas is shown
IN the second sketch. IL was q lovely
treatment II shades OF topaz. The
tunic-hke outer dress was OF deen
toppz cashmere, embroidered IN that
long loose stttohery In shades of prune
and topas and brownish green. picked
out here and there with tiny notes Of ,
coral, mere suggestions so as TO be In
doscernihle. The under dress was oSY
pale topaz cnif1n gathered In MANY
soft fine limos over a slip of pale corlpI
SATIN. The whole gown gave one ths1
feoltng or peace that comes OF com-4
plete harmony and perfect simplicity.
Ihis gown was Of such excslloncoy
that have had our artist nnakesf
Two sketches Of n, so YOU NAV obtain q I
complete idea or the back as wAII a.
the front The fourth and fifth \
sketches are Of an especially 9ood
model for the woman who desires 4
more ornate type Of dress n has only
Just come from the magic fingers OF
Paul Poiret, and Is notable for the
clever combination Of materials. silver
tissue of moonlight blue chiffon for the
panels and bodice combined with velvet
II lighter tone and finished with a
flmy fringe.