davidaulloa/AmericanStories huggingface dataset:
The broad ax. [volume] (Salt Lake City, Utah) 1895-19??, 1919-05-10
BLOUSE WITH PEPLUM FRONT
Model christened "Bibette" and Z
Occasionally Is Known as the
"Apron" Blouse.

Among the very interesting blOuss
developed this spring the models VIII
peplum fronts are increasingly pOpG
lar. This type of blouse came in Style
last fall, when il was christened ths
"Bibette." II is known either as tne
''BIbette" blouse or the Apron
blouse,
Most of the models developed on thS
line fasten either in the back or al one
side, as straight-frOnt faStehAs
would mar the effect sought; but gres1
individuality is possible in designlhs
such a blouse, as il may be ratna
tailored and severe or very dresSy aD'
feminine, according to choice.
When worn with dark suit olOuS
In light or bright color, with long irO"
section, appears to much better adta1
tage when the suit coat is on tlAI
when II Is removed, as the aOfiDai
waistline at back and sides and iOOs
panel or apron front give the ngure
rather inartistic line. But Amene..
women are being converted 70 w
French idea In wearing suits, ana rl
ly Is a woman seen with her sulteOA'
removed, except at luncheon or 'e-
At such times the blouse may De na
ly part OF q once-pIece frOck, as III
the actual observer Is able to tell
The broad ax. [volume] (Salt Lake City, Utah) 1895-19??, 1919-05-10
ASSUME GAR8 OF GRoWNUPS
Little Girls Naturally Wish to Copy
Elders and Designers Have Pro-
Vided for Them

Did you ever see a little girl who
didn't want to dress like grownups
and who was not always surreptitious-
ly borrowing things from her mothers
dressing room to play ut dressupf
Even the powder box from the dressing
table Is included In the game.
Those who design clothes for little
people, states a fashion writer, have
not forgotten their own childhood.
They remember that little girls, even
as you and i. have better dispositions
when they are wearing clothes that
they like.
A very young lady. say of about five
years Of age. could not possibly have
that insignificant feeling which is so
trying when wearing a dolman cape
just like mothers. One Is OF bun col
Ored velours-a nice soft, cuddly. dou-
ble-faced velOurs Is used for it-and the
bonnet that accompanies II Is Of bright
red chiffon cloth with lots Of tucks. II
you ask any little sub-deb what the
trouble with most party dresses Is she
will tell you that they make one feel
entirely too dressed up. and this, Of
course, Is fatal to a good time. For
who wants to sit around and talk and
sing and never romp or anything?
The broad ax. [volume] (Salt Lake City, Utah) 1895-19??, 1919-05-10
CAPESANDGO
FOR SPRING WEAR
Garments IN Vast Array Make
Choice Wholly Up to the
individual.
UNIFORMS AMONG PAST EVILS
Mannish Dressing Does Not Admit Of
Women Looking Their Best;
Pretty Clothes Bring Out
True Disposition.

Clothes reflect current events and
the spirit Of the times In which we
live to a greater extent than appears
to the casual observer. Fashions are
now as topsy-turyy as the rest Of the
world, observes a prominent fashion
correspondent. Many things are
shown, but few are chosen, so the
best thing we can do Is to select the
clothes that best express beauty and
harmony and that above all are lovely
and feminine.
Let uniforms and mannish dressing
for women be among past evils. II
may be that uniforms are inspiring to
feminine wearers-some people think
so-but why be inspired to be an eff
Gent machinei Who wouldn't prefer
the inspiration that comes from frills
and furbelowsi II woman Is beau
tifully and becomingly dressed she has
that soul gratifying assurance that
comes with the knowledge that she is
looking her best, and she is possessed
Of something akin TO the faith that
A~@1SNCS AAAOaAAIuAAAc- 1hClC 10 uO
doubt about it-pretty clothes make.
us cheerful and happy and charming.
There are ever so many new French
ideas that we can use In making our
spring frocks smart and becoming.
for instance, the little undersleeves of
white null that peep from beneath
short, tight sleeves Of either silk or
serge dresses are beautiful. Many Of
these have picot finished frills Of the
null set on natly, and sometimes these
frills are edged with real lace.
Worth showed directolre gowns Of
silk with tiny undersleeves, and often
a matching treatment was carried out
In the rounding neckline. Here a lit
tie gilet Of null was edged with one
Of these perky fiuted frills that barely
showed itself from beneath the cloth.
Short-waisted dresses Of tafteta are
corded both at the waistline and
rounded neck, and sometimes at the |
bottom Of the sleeves as well. Sew
eral Of these dresses have small d. |
The broad ax. [volume] (Salt Lake City, Utah) 1895-19??, 1919-05-10

Topcoats have not been neglected
this season. They. too. have come In
for their share Of trimmings at time
when everybody seems TO be quite
mad on the subject Of ornamental
don. Leather and tweed are favorite
combinations for country wear. Coarse
grained black leather without even q
suspicion OF gloss forms voluminous
shawl collar, cuff and even ample
patch pockets on a coat OF dark gray
homeSpun. and with q narrow strip OF
leather It Is belted high under the
arms; then II flares toward the bot
tom after the manner Of swagger top
coats. Smooth red leather trims a
motor coat Of dust-colored Irish tweed.
The large buttons that fasten 1t are
Ieather-covered, and this time the
leather collar and revers swing the
The broad ax. [volume] (Salt Lake City, Utah) 1895-19??, 1919-05-10
KITCHEN SHOULD BE CHEESl
Workshop Of the Home In winch ="
lority Of Housewives speno
Most Of Their Time.

The average woman does not tnT !,
Of her home as a mirror, but tnsI :
exactly the relation to herself In Will
II stands.
OF course. It Is but natural tS
milady spends a goodly portion o. ~
energy upon her living and Oin'D'
rooms. u
Yet the kitchen. as the WORKSHOP :
the house, Is the room In which La.
housekeepers spend most of their va !.
ing hours, and therefore II shouiu Al
the nghtest. ARREST and most cne1. !.
one In the home. But no" orten
noti
Harmony Of color plays 30 -
tanf role In making Interiors .,
tive, and one pretty eomoinauO $50
the kitchen Is TO have the Waiis !,
q light green and the door nn,sns'
! darker shade Of the same eOl0t'
The broad ax. [volume] (Salt Lake City, Utah) 1895-19??, 1919-05-10
GINGHAM AND MUSLIN LINING
Materials for Inner Finish of Coats
and capes Afford New and Ap-
proved Idea.

We hear Of satin eapes shown at the
Paris openings that were lined with
a soft pile fabric like duvetyn. These
must add materially to the warmth Of
the garment. notes q fashion writer.
And have you heard Of ginyham lin
lngsi This Ia a new idea, but after
all, why would not gingham make as
good q lining for q summer cape or
coat as satin or peau de cygne or chif-
font
Who would ever have dared to use
unbleached muslin for the lining Of
coats and eapesf No one In the world
but one Of the smartest Of Paris dress
makers. Apparently this Ia merely a
bit Of daring. and not done In an e.
fort toward economy. for the I'M
bleached fabric h used to line the
most gorgeous and luxurious Of gar
ments.
The broad ax. [volume] (Salt Lake City, Utah) 1895-19??, 1919-05-10
GRACEFUL FOLDS OF CAPE,
cIingy Lightness Of Serge. Satin. w,u
Jersey or Tricotine Supplant,
Winter Materials.

The spring maid is all wrapped nm
In capes as vOluminOusly rs her preda
ceSsOr, Madame Winter. No ms,,s,
how she tries she can't seem TO %, an,
from under the graceful folds m.
only difference between the winter and
spring models Is that those folds bsr,
fwindled from the heavy richness NJ
fur, v0IOurs and duvetyn to the spripn
like clingy lightness Of serge. satin
wool Jersey or tricOtine.
II we follow old Omar'S admOnts
and fling our winter garment Otn
pentance In the fires Of spring II viii
only be To don another exactly similar
in Cut and style.
OF course the spring canes hsv.
some new and novel touches to bring
them up to date. such as embroidery
characterization. scarf collars ending in
swishing taSsels. path pockets and
button excrescenees jutting out in
nObby designs.
A perfect jewel OF a model Is Of
pearl-gray jersey with a deep soft cape
collar edged in a wide band Of black
silk braid. The wide braid also finishes
the slashes for the arms and a vivid
lining Of orange and black checker
board satin shows free and uncheck.
cred when the wind blows.
A smart draped cape Of black tafpn
has one Of the deep soft collars also
which is edged with a wide fringe Of
long narrow taffeta ribbon loops, as Is
also the bottom of the cape. The
lining of this distinctive model Is a
vivid apple-green silk crepe. fruitfully
sprinkled with cherry polka dots and
plum-hued dashes.
Almost all Of the cape Innings strike
such a gay. joyous and riOtOus color
note that they seem TO indicate the
real inner nature Of their fair wearerS
The broad ax. [volume] (Salt Lake City, Utah) 1895-19??, 1919-05-10
BLACK AND WHITE
Vogue Launched by French Max
ers Still in Favor.
Afternoon Dress Of White Crepe dc
Chine Heavily Embroidered In
Front With Black Wool.

The imported gowns from that dear
Paris are not pretty as to line and de
sign-not even the most enthusiastic
admirer Of French creations can en-
thuse over the very short skirts and
sleeves and the rather bunchy look
most Of them seem to have-but they
are decidedly interesting and. more
than that, even they are different from
anything we see hereabouts-
Now, for instance, says q fashion
writer. comes a white silk jersey eve
ming gown, and from Doucet. 1t Is q
charming thing with long lines 50 very
graceful that IL Is distinctly novel.
While It is true most OF the import
ed models seem to be rather bunchy.
II is also to be noted that they all more
Of less are Of the one-piece or chemise
type Of dress. This particular evening
gown Is an excellent example, as IL
has nothing to break the long lines ex-
cept q wide sash going twice around
the waist and looping Just at the hip
on one side. The ends are finished
with a heavy silken fringe and about
halfway up the skirt are loOped
strands of white beads punctuated
with large fat jet sequins. The yoke
OF the bodice is ornamented with the
same sort of beads and jet so placed
that they fall over the shoulders and
thus form the sleeves, as there are
no others. II is difficult to describe q
frock Of this sort for the reason that
II is far lovelier TO see than II Is to
read about
All last year the French makers
were busy launching vogue Of black
and white. and the combination Is still
highly favored, as / find 1t exploited
pleasingly In a Lanvin afternoon dress
Of white crepe de chine heavily en-
broldered In the front with black wool.
This dress has the queer skirt distin-
gushing q number Of French gowns
by being so much longer In front than
in the black and also by having most
OF the fullness gathered In the front.
A black sash goes around the waist
and falls quite to the hem in the back.
Indeed, the sash Is an important
thing on every gown. as 1t appears In
many unusual and interesting ar
sometimes placed high up
under the arms and crossed In the front
and again In the back, where II loops
between the shoulderblades and then
falls the length Of the entire frock. In
this instance the sash IL not more than
four inches wide and appears on q
Lige satin frock made with the SIM
plicity Of a little girls school dress,
falling long and straight from the
shoulders, with only the little crossed
sashes at the bust and In the back to
hold in the fullness. The sleeves are
very short, just the length we would |
rail- awkward. as they stop far short Of |
the elbow.
The broad ax. [volume] (Salt Lake City, Utah) 1895-19??, 1919-05-10
FaDs AND FancIEs

The new tuHc skirt has the tunle
coming only to the knee.
Cray and black form the smartest
combination Of the moment.
A good deal Of Chinese filet a used
on flesh crepe blouses.
Dressy taffeta suits are seen. some
with cape coat effects.
The suit coat has made excellent use
OF the deep shawl collar.
Copper. tete de negre and black are
me favorite eOlors for wells.
Inc afternoon frocks have belts
made OF material rather than Of RIB
bon.
The oxford shoe. topped By 4 ribbed
STOCKING has no rival for street wear.
The broad ax. [volume] (Salt Lake City, Utah) 1895-19??, 1919-05-10

combinationG
rectoire capes to complete them. Such
capes are cut short In the front and
longer In the back.
Winged Moths Lurina the Fiames-
A slender, straight-line dress with
a cape that makes fits wearer look like
4 little winged moth Is picturesque
enough for any woman who does not
wear strictly tailor-made things and
practical enough 70 adapt itself to any
hour Of the day. Wide box plaits Of
the cloth that hang loose except where
they are caught at the neckline and
underneath the hem at the bottom Of
the skirt are q new feature. The
round neckline appears In this model
and II r. softened by q rolling collar
Of white silk Venetian red buckles
are used TO fasten the belt, which Is
somewhat wider than IL usually worn
on gowns Of this type. The cane II
made IKE those just described, which
curve shorter In front. and Il IL slit
for armholes at either side. white
satin b used for IT'S lining. Many Of
these capes shown at the French OPEN
ings were lined with cotton fabrics.
0l1fhshioned white crons-barred mas
Ii frequently was used to line botk
capes and coats.
The broad ax. [volume] (Salt Lake City, Utah) 1895-19??, 1919-05-10

pendulum Of fashion In the opposite
direction by being very scanty. The
Guns are unusually narrow; In fact,
they are little more than facings. To
make this overcoat warmer as well as
smarter II is given a red cloth lining.
Linen of onarse weave is used to
make surplice waistcoats for still
other topcoats. Marine blue is the
color most often chosen, and a leather
collar and cuff In the same hue is add
ed. One new motor coat that I saw
was Of black and white plaided worst
ed. 1t was a loose, baggy AFFAIR with
raglan sleeves, and tan leather faced
the collar and cuffs. Another good
looking one was of champagne-col-
ored camel's hair cloth-the real
camel's hair cloth which is so difficult
to procure now. The coat was swung
from a deep yoke, and the collar,
which In this instance was of the
cloth, rumpled up around the ears In
becoming folds. Champagne-colored
silk with broad purple stripe made a
striking timing.
Humble Straw Makes Its Debut.
There is a French coat that has
gone so far as to have a straw collar.
Collars and cuffs Of other coats are
adorned with landings Of tightly in
terlaced straw. This idea of trimming
clothes with straw is rampant. The
other day / saw some tailored sport
shirts Of white linen, and under the
tucks In the front was set a finely
iuted trimming of brown linen woven
so as to appear like straw. A prim
Zion collar and turned-back cuffs were
bordered to match.
Why faille silk should be selected
as q material from which to evolve
sport clothes Is a bit difficult to say,
when there are 30 many
beautiful silks Of rough weave that
are made for nothing but this type Of
dress. However, the fact remains
that faille and Angora have formed an
alliance to make some sport clothes
so good looking that We scarcely dare
question their practicability.' One suit |
that I saw was OF buif-colored faIlle |
and had bands Of brushed Angora
down either side OF the skirt, from
to hem. The Angora,
which was light brown In color, encir-
cled the bottom Of the short box coat |
and formed a scarf collar just like the |
scarfs we have worn on our sweaters.
These loose. scarf-like collars are
much used.
Dovegray silk made another suit |
that had smoke-colored Ang0ra as its
Brick red silk was chosen
FOR a cape. A straight strip Of the
taille was taken and gathered to a
band Of gray Angora- Any one who
can use q needle could easily make
such q wrap-and IL was 50 pretty
md effectivei The more serVieeable
red yelours might be substituted for
sflk, on turquoise blue cloth with
White Angora would be effective.
Martial ct Armand Of Paris have
nTde q cape for country wear Of tur-
Iuoise blue duyetyn- II IL rather q
canty cape that sweeps gracefully
lround tn slender wezrer. Deep rose
ATTN lines II, and the openinss that
'erve as armholes are cut In q way to
,eveal the rosy lining and make q
color contrasf. gne1e nrn-
loies are banded with ever - n1ny
ferz of Narrow bine hrald-
The broad ax. [volume] (Salt Lake City, Utah) 1895-19??, 1919-05-10
orpandis and EnoIIsh Prime.

Some Of the newest French bIouses
are Of organdie trimmed In Engiish
prints. a cotton fabric printed In calico
designA
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-05-11

group Of two at the bottom Of the
page. Metal brocade, a material so
popular that it is almost impossible
for manufacturers to supply the de-
mand, is used for it. Cafe au lait
taffeta forms the background Of the
fabric and the brocade is in silver.
To achieve the new silhouette q
full tunic is gathered at the bottom
to scanty underskirt made by join
ing alternate bands Of silver ribbon
and brown tulle. Falling from IN
der the silk drapery is a narrow
short pointed train. On each
shoulder is just a wisp Of the ever
popular brown tulle, and the same
material forms butterfly bow with
tapering ends that float away in the
smallest train anybody ever saw. BY
the time it touches the floor it has
diminished to a width Of about two
inches.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-05-11
Of each rib, and still others have the
ferrule encircled with feathers.

of each RIB, and still others have the
ferrule encircled with feathers.
Very lovely are sunshades Of
old-fashioned chintz, such as might
have been used by the beauties of
pre-Revolutionary days. These make
charming garden parasols.
The French always make their
parasols tub shape, but we in Amer
lea do not like these shapes as we'll
as the larger English ones, because
they interfere with our headgear. A
tub-shaped parasol shown at the top
of this page is made of old blue
Georgette crepe over bright red tat
feta and is outlined with red roses.
Both Cloisonne and jade are used
for the handles of parasols. For the
country there are some charming
Japanese umbrellas that are very
short, much shorter than the diminu-
tive English rain or shine umbrellas
that we have been using. They are
almost like a miniature parasol that
may be tucked under the arm when
going out for a morning walk.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-05-11

it is being used for our summer
clothes, and used with enchanting
effect. A new shade of brown, that
very soft and mellow brown tone
seen in the roots of trees, suggests
hitherto unthought Of color COM
binations. A tendency toward a
profuse use of this color appeared
first in the French hats that came
over this spring; many models from
the best Paris modistes we're in this
shade.
Now one sees on Fifth Avenue In
the morning shopping hours ever
SO many smart women wearing ac-
Gordon pleated skirts Of brown
checked or p1aided wooden, with
short coats Of navy blue serge.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-05-11
Trains Are Whimsical
And Some Even Droll

THE evening gown have just de-
scribed does not enjoy the dis
tinction Of being the only one to
have a train. Some trains are whimsi-
cal. Some are even more droll. They
start in hitherto unheard Of ways,
but one thing they agree upon-all
are slender, very slender. These
queer ways Of springing from
gowns were forced upon trains.
With almost no decolletage to the
backs of evening dresses the trains
had to be versatile, they simply
couldn't pin themselves to white
shoulders.
Small wonder, then, that they
took to hiding their origin beneath
the skirts, as did one on a black
satin dinner dress. The back of this
/, skirt was plain and straight, and
the train sprang from beneath the
hem.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-05-11
Tafeta Helps Achieve
The Desired Boufancy

FSAFFETA is a favorite material
for these gowns, because the stiff
ness of the silk aids greatly in ac-
conplishing the desired bouffancy.
One black taffeta frock Is corded in
an unusual way. The cords take the
form of half hoops, beginning at
the bottom Of the skirt and curving
upward toward the waist. This sill
houette aims to give an effect Of ex-
treme fairness both in the back and
front and puffiness at the sides.
IN the skirt Just described the
front is fiat solid cording, with the
tafgeta setting cut stifiy at either
side. The fat appearance in the
back IL emphasized through the skirt
being drawn toward the front by
means Of the sfirrings. This skirt is
considerably longer In the back
than tn the front.
At the lower right Of this page
n gown OF dull rose saith
Franeaisc. 1t was designed for nm
informal dinner azassr IN whaa1a ana
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-05-11

net footing. Now there is a return
to this charming old fashion and at
any Of the shops along Fifth Az
enue may be seen these oldtime
dainty kerchiefs. Some are woven
from pure linen lustre yarn and
edged with net. Others have the
hens finished with two or three rows
of spoke stitching. Handspun linen
handkerchiefs have borders of real
Valenciennes lace which are woven
as part of the handkerchief instead
of being sewn on. These are very
lovely and cost about $3.50 each.
Sports handkerchiefs may be said
to be a bit lurid. Some of them
have dared to be made Of bright
plaid linens, green and blue plaid
being among the favorites. Other
sports handkerchiefs are in plain
bright colors with hand rolled hens
whipped in either white or black
threads, with blocked monographs
also in white or black.
Such simple thing as the choice
Of blouse can easily make or mar
the appearance of a suit. When
choosing a blouse one should take
particular care to see that it is be-
coming as we'll as appropriate to
wear with the suit. There is one
designed to make the collars of the
new coats which button high at the
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-05-11
The Mermaid Dress and
Even a Fishtail

+ WANT to tell you about one
other dress that Fifth Avenue
designer has Just made. It reminds
one Of a mermaid. The upper part
IS Of iridescent spangled silver
cloth that Grapes loosely around
the body and low on the hips. It
CLEANS like shiny body that has
just come out Of the ocean into the
moonlight. The lower part Is black
satin, which is very tight AROUND
the ankles and creeps away into a
little fishtail train that undulates
along behind one.
Even the realm Of parasols has
been invaded by new materials.
The same feeling for the use of
wintry fabrics in this summers
clothes that we have seen noted in
both hats and gowns is expressed in
parasols. Black velvet frequently Is
used for them; these are lined with
thin silks Of contrasting tone, blue
being the color most often used.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-05-11
Shops and Things

M ETAL tissue has found it's way
A'A even into sweaters. In some
Of the newest ones silver threads are
entwined with the worsted. One
such sweater is jade green wool and
silver. It is knitted in an open
work dropstitch with band
knitted in plain stitch around the
bottom Of the sweater. The collar
and cuffs, too, are knitted Of the
green silk without the thread Of sill
yer. AS the mesh of this sweater
is very open, lining of China silk,
also in green, is added.
For this seasons sports hats fab
RIGS are considered smarter than
straw. There Is, however, straw
called caterpillar that frequently is
used, no doubt because it closely re-
, sembles fabric.
Black bonnaz embroidery in Moor
ish design ornaments a plain sailor
hat Of jade green Baronette satin.
The brim of this hat rolls upward
slightly and embroidery is placed on
J the underbrim we'll as on the
crown. Brown caterpillar straw
faces the brim of pink taffeta hat
and the brown straw is embroidered
in pink silk with loose looped
stitch.
These 'Kerchiefs Are Not
To Be Shifted At
oNG ago when people had "best
handkerchiefs" we enjoyed love-
ly little hankies edged with lace and