The sun. [volume] (New York [N.Y.]) 1916-1920, 1918-09-08

the sleeves short, but this only n
case the bereavement is not very re-
cent.
For deep mourning the smart Parish
enne does not exaggerate the short
ness of her skirt, being aware that
a too abbreviated jupe takes away oil
dignity. All her toilet accessories
bags, Jewels, &c.-are OF jet, of silk
or of black wood. Parasols of dull
silk often have border Of Grape and
the handle is studded with close set
black beads. In warm climates sun
shades sometimes have n white lining.
The final touch is to have ones
lingerie match ones mourning. The
combination petticoat is necessarily
black but chemise and drawers may
have black border and be EN-
broidered with a black monogram or
sable flower. Even Milady's boudoir
cap OF white tule gives place to a
pleated black tulle cap. which, to make
1t less somber is trimmed with a gray
or mauve ribbon.
Shoes and stockings are black, the
former being of suede or dull kid.
Patent leather Is taboo until the
mourning is llghtened. for It adds n
note of coquetry that Jars artistic
sensibilities. The Parisienne in mourn
ing does not wear transparent stock
ings with short skirt. Gloves vary
with the length OF the mourning
period. Suede or dun silk are correct.
White glace kid gloves are only per-
missible with half mourning.
In Blue and Orange.
One OF Martial & Armands unique
models consists of a perfectly plain
blue cloth dress plped with orange
and having as its sole trimming two
superposed rows of heavy blue silk
fringe set on the bottom OF the skirt.
Over the dress Is worn dark blue
cloth wrap cut exactly like a square
shawl.
One corner forms the high draped
collar and small depending cape, and
the entire thing is edged with the
| heavy blue silk fringe. each strand OF
which is tipped at either end by
| blue glass bead. The cape is lined
with orange satin, has two site
! through which the hands are passed
and is worn carelessly draped across
one shoulder. On tall woman the
effect Of this odd wrap would be stun
ming.
For afternoon and evening wear
black and white remain the favorite
combination. A frock OF white crepe
de chine has a draped tunic trimmed
with an intricate embroidery Of fuzzy
white wool and black chenille. The
skirt is fulled into wide band OF
seal at the bottom, and the collar ana
cuffs are also OF the seal A deep
black satin girdle ties in the back
and from its ends swing two heavy
pearl and Jet tassels.
| Another gown of black velvet has n
narrow skirt cut on the popular
straight lines. IT has n V shaped
decolletage and broad sailor collar OF
seal and ermine set in alternating
| bands. From the shoulders floats 4
| long panel, which falls 20 the hem OF
the SKIRT and Is trimmed at the bot
tom with wide black chenille fringe
tipped with white wooden beads. Tho
eirdle consists of n thick silk cord
and tassel, passing once round the
waist under the panel, and the very
| short sleeves are OF the kimono va
| riety.
The gem of the collection is an eve
ming dress called Nemesis, which looks
as though 1t had been created eX-
pressly for, Katherine Kaelred or
! Theda Bara. Picture perfectly plain
sheath dress of black satin. short, with
bands of jetted tule set in circular
movement about eighteen inches apart
from neck to hem. The effect is dis
tinctly Egyptian and gives an appear
! ance of great slenderness
But what lends this frock its par
! ticular distinction is the long cape Of
! black jctted tulle. snapped on ut the
neck, which can be worn or discarded
! at will. The cape falls to the hem OF
the skirt and Is full enough to he gath
| cred together in front, thus throwing
I a mysterious veil over the costume.
In striking contrast is an evening
| frock of rose taffeta, made to initiate
the garb of Tanasra fgurine. Two
narrow widths OF taffeta start from
I the waist. cover the bust and end in
points at the shoulders, and under
them is passed "A band Of silver lace
that forms a square decolletage and
also serves as a guimpe front and
back. .