El Paso herald. (El Paso, Tex.) 1901-1931, 1914-05-30

: ing an excuse for magnificent orna-
ments Of an infinite variety.
The Orient, and all its rich en-
broideries- as well as the draped line
inspired by its Silhouette, still has an
irresistible charm in the new gowns.
India and China, as well as Persia, add
their influence 10 the smart gOWning
OF the modern woman Just at present
II IS the Persian turban which has
the widest influence.
At Longchamps the most seductive
dresses were nothing, more or less,
than Egyptian. Gowns Of supple silk
full Of the color Of the fiery sands
had no Waistline but buttoned from
the neck TO the bottom Of the basque
down the middle Of the front. where
the basque at the bottom was enlarged
with several points. This basque fell
over narrow skirt Of matching serge.
Its shOrness showing feet well shod
in high heeled low shoes decorated
with large Louis XIV buckles A soft
and plant scarf passed about the hips
and fell in front in two fiat ends To
complete this bizarre costume, which
Is rather radical in its line, a bunch
Of white violets was worn at the belt
while around the neck was a rUche OF
ostrich feathers. The gloves, larger
than large, were Of gray suede stitched
with black. On the head was a hat,
high and square in shape. covered with
tight small pink roses placed closely
together Over this hat floated a large
veil OF lace, worn as often raised as
lowered over the face.
The materials are extremely beau
tiful this season. The taffetas re-
semble satins and the satins exotic
fabrics from the Orient: while the
WOOlens, in checks. used for afternoon
costumes, are not less supple or eI-
quisite TO the touch Even the linens,
striped and lowered. are art inspired.
and reveal all the poetry OF the Ro-
mantle period
A striking frock TO be worn after
aH.- 80 n~wr-
tratiOn- Dark brue taffeta is COM
btned with taffeta. having a crude
cOlOred Futurist design strewn care
lessly across it. Long ends Of this
figured silk are attached to the fronts
OF the blue taffeta waist and tie loose
y in the back. The skirt Of solid
blue has panniers Of the figured silk,
draped at each side
The second frock, also illustrated.
is OF the new sheer gingham called
tissue Bingham It IS similar TO a
voile, but has more body to its tex
ture. This material in solid light blue
was combined with white tissue ging-
ham having squares, blocked off bv n
hair line Of black The main portion
Of the waist and OF the skirt are of
the solid blue The fronts of the waist
are OF the checked material. bound on
the front edge with black Puff1as
Of this fall from the bottom Of the
short sleeves and show beneath the
hustle skirt, also bound with black
Binding instead Of hemming IS the
latest smart finish. 4 net chemisetfe
with a collar of lace wired TO flare
complete this delightful frock
The return Of the jumper waist for
the smart spring taffeta frock has
solved many a problem for the econou,-
ical woman The organdy sleeves give
the appearance Of an under blouse
as the same organdy shows in front
IN the high or supplied vest The
sleeves can be elbow or wrist length
with an organdy cuff If long. and with
a frill Of lace If short, and a more
elaborate costume is desired.
Two effects are strongly marked
this season in the line Of the bottom
OF the skirt. One, the narrow. tight
fitting undersl1irt that has a strong
trOuser effect, and the other frills
either fril on frill. lifted at each side.
or peeping gaily from under the up
draped Overskirt- These narrow skirts,
that spread as the frilled flOunces give
to each step. are fascinating for dance
frocl1s. as they prevent the short dance
skirt from having a hard, unbecoming,
binding line about the ankle which
is usual with the straight narrow
skirt. so suitable for long tunic and
tailored frOcks
The wider skirt is inevitable. II the