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The Omaha Sunday Bee Magazine Page
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BUTTLE E.E8SM BN GOOD VA$YE
IMPRESS BYlAP DiaiFF-CEiPM
LADY DUFF-CORDON, the famous "Lucile" of I
most creator of fashion in the world, writes eacr
JL-.
London, and fore
ch week the fashion
article for this newspaper, presenting all that is newest and best in
styles for well-dressed women.
Lady Duff-Gordon's Paris establishment brings her into close touch
with that centre of fashion.
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A Juno-Like Robe for Evening Wear. Of Deep
Mauve Crepe Over an Orchid 8llk Lin
ing, It la Quaint and Effective When
Worn by a Statuesque Woman
of Vivid Coloring.
I
By'Lady Duff-Gordon.
Tis desirable to be quaint In dress. It is
undesirable to be bizarre. I will explain.
When we say "She dresses quaintly" we
mean ''She dresses In an unusual way, oddly,
neatly. In singular fashion." If this unusual
ness is kept within the bounds of good taste,
and If It is peculiar to herself, distinctive and
becoming, it is high praise to so say of any one.
But to say "She dresses in a bizarre fashion"
is to admit that there is In her dress an ele
ment of the grotesque. She has carried quaint
ness beyond thj limit of good taste. Endear
orlng to be picturesque, she has made of her-
elf a caricature.
The-costumes photographs of which are re
produced on this page are quaint While they
are unusual, they are not so unusual as to be
unbecoming to the type young woman who
wears them. They are distinctive, and within
the bounds of good taste. By the moat hyper
critical they could not be ranked as bizarre.
The evening gown suggests the majesty of
Juno. In outline It borrows from the old
Roman. In coloring it recalls the moonlight
Those who have Inspected it in my house in
Paris have aald, "Ah, it is like a brilliant moon
light on the Seine." It is of rich mauve crepe.
The draped short tunic is embroidered in sll
er. The girdle is of silver embroidered upon
a foundation of violet velvet The draped skirt
is of the mauve crepe, gathered at one side.
falling In a short, narrow train. The whole la
built upon a foundation of orchid silk. The
heavy necklace is of silver. If this were worn
by a short, dumpy woman, one without distinc
tion, It would be a failure. On a tall, Impe
rial woman, with strong but regular features.
It Is quaint
It would be as successful in midnight blue,
that shade of blue that Is so dark that it Is al
most black, and is truly comparable only to the
sky depths on a starlit night Made of this
shade of chiffon over silver colored lining. It
would be exquisite. Or over a lining of the
same s trade of blue and with a garniture of
gold embroidery It would be superb on a tall,
statuesque woman of less vivid color than that
type which would be especially happy In the
moonlight shades.
The young women grouped at the centre of
the page are examples of quaint gowning. Their
apparel ls""dlfferent." It is out of the ordi
nary, but not so far out as to be grotesque. It
is adapted to their type. It Is neat and fresh
and dainty. The gown worn by the sitting fig
ure is of rose messallne over a petticoat of
white mou' -eUne de sole, with trimmings of
Valenciennes. It is draped from the high belt,
the fulness being gathered about the hips, giv
ing a pannler-fike effect The corsage is sur
pi Ice effect in in front, and the elbow sleeves
are of the always graceful kimono style. The
front is filled in with white maline. The hat is
of rose-colored straw, trimmed with narrow
The Glrllah Costume of the 8lttlng . Figure is or
Rose-Colored Messallne Over a Petticoat of White
Batiste and Valenciennes Lace. The "Baby
Dress" Worn by the Standing Figure
Is Quaintly Becoming.
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The
Newest Mid-Summer
Gown.
flounce of simple
below the knees with
peculiarly infantile. Even
black velvet rib
bon A small bunch
of blue cornflowers
at pre side of the
hat offers a chic
note of contrast to
the costume. The
parasol is of the
same1 shade of rose
color as the gown,
the narrow flounce
being faced with
chiffon of cornflow
er blue. Into the
wide, graduated
girdle the two col
ors, rose and corn
flower blue, enter.
Her companion
is in white mousse
line. The short
gathered baby
waist, with itsnar
row frill, the scant
gathered aklrt. fin-
' ished by a narrow
embroidery and outlined
similar insertion, is
the sleeves are
Why Old Age Really Does Dry Us Up.
ACCORDING to the latest discoveries, the
term "dried up." so often applied to
old men and women, is scientifically
correct "Drying up" is what actually does
happen -to our bodies as they advance In age,
and there Is at least as much trujh as poetry
in the comparison of youth to a Juicy young
bough and old age to a dry, withered limb on
the tree of life.
Professor O. Marlnesco. of the University
of Bucharest, has recently discovered that
our flesh Is made up mostly of chemical com
pounds of the colloid type, consisting of Jelly
like er glue-Uke substances that do not
crystallize. This type of substances, he says,
"grow old chemically whether they form a
jart of a living body or not
growing old, then, Is a process from which
there is no escape, because the chemicals in
qut bodies are so constituted that they must
Inevitably undergo It Old age Is fatally writ
ten Ia our tleeues from the moment they come
Into being.. The drying up which mark it
begins, when we, stop. growing and becomes
more and more rapid the nearer we approach
death.
Until Professor Marlnesco attacked the
problem, the study of the problems of old
age has neglected Its chemical side almost
completely and has totally Ignored the Im
portant changes which take place In the col
loidal cells. Thanks to his investigations, we
now know that these colloids, whether organlo
or Inorganic, have a vKal curve and must
consequently follow in their evolution a fixed
course more or less similar to that of the
living elements.
Not only do these Jelly-like substances dry
up as they grow old, but they often become
fibrous and stringy. Diffusion through them
becomes more difficult and their chemical
properties undergo radical changes.. All
these changes are precisely those which take
place In living organism as they grow old.
The slow but sure loss of water with age
has been noted In the tissues of rats and other
animals. There Is more water In the bodies
of aU young animals than ia adults and the
quantity of nitrogen and phosphorus they
contain also diminishes with age.
The changes which the body's cells under
go explain not only why we all die eventually
but also why we don't keep on growing until
death overtakes us.
As the colloid substances grow old they
become less fluid and offer a much greater
resistance to the various chemical processes
on which life depends. Nutrition is blocked
and this results In the stoppage of growth a
stage that is reached in human beings at a
comparatively earlier period- than In other
animals.
This Increased blockade of nutrition as the
cells become drier and more fibrous or
stringy explains why we loose our vigor and
are subject to all sorts of aliments as we be
come old.
Of course many external causes may have a
band in hastening the processes of old age
and death. But even if all these external
causes were removed Professor Marlnesco
believes that the colloid oells would eventual,
ly dry up and die Just a a plant does wheat
deprived of water.
gathered as In an infant's gown above the
elbow, a style, by the way. that Is peculiarly
becoming to thin arms, and held In place as the
6klrt about the ankles, the blouse at the belt
and about the low-cut neck by baby ribbon of
black velvet. The wlde-brlmmed sailor hat Is
faced by black velvet The Introduction of the
black velvet takes from what might be a too
pronounced infantile note in the costume, giving
the young wearer a suggestion of "grown-up"
dignity.
The early Autumn coat shown In another cut
might be bizarre If worn by some types, but on
the young woman possessing the gift of natural
dignity it Is merely and pleasantly quaint Of a
deep yet rich shade of Burgundy broadcloth, It
is full at the shoulders In front, hangs straight
and full at the back, and the sleeves, unusually
roomy at the shoulders, are full at the elbow
and wrist, the fulness confined at the wrist by a
band of the broadcloth. A broad coat collar of
black velvet enriches the wrap, and a note of
qualntness Is provided by the facing of. the
revers and front with silk In black and white
stripes. Large outside pockets furnish conveni
ence and give to the garment a mannish note.
The coat, which Is seven-eighths length, would
be effective, though less quaint, In dark blue.
Qualntness Is inseparable from the Kate
Oreenaway costumes, the Dolly Varden flow
ered muslins and flowing sashes and close-fitting
bonnets; also with the many flounced cos
tumes surmounted by a cousin of the poke bon.
net But If worn by persons to whose Individ
ual style they do not lend themselves they may
be bizarre.
The new fashions of the Autumn, I am happy
to say, tend toward the simplicity that Is the
expression of good taste. For example, they
are for the most part In one tone. One-tone
gowns or costumes always make for the ele
gance of simplicity, or If there be relief from
the one tone it la slight, confining itself to what
artists term "accents" and home dressmakers
"touches" of color.
The redlngote not only Impends. It Is here.
But it Is in stralghter lines than those we have
seen In the portraits of our mothers and grand
mothers. The redlngote of that period was
bouffant. It "bunched" to use the term of that
time at the hips. The redlngote of to-day
fall nearly straight from shoulder to knees, and
over the narrow skirt give a military effect
It is a graceful garment, and may be made
becoming to every figure by some adaptations.
It la foolish to say of a new mode. "I cannot
and will not wear it" Far better say, "I will
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A New Autumn Coat That la Quaint on Thla
Wearer Because Adapted to Her Indi
vidual Style. It Is of Burgundy Broad
cloth, with Collar of Black Velvet
and Facings of Black and
White Striped Silk.
flrst try it on a model." It Is one of the subtle,
ties of dress that we cannot say of this color
or that model. "I cannot wear It," and yet when
we "try it on" are surprised to find that It is
becoming. One reason for this contradiction m
dress Is that we ourselves change subtly, and
some of us for the better, so that the gown or
shads that was Impossible to us last year may
be an excellent framework for our personality
this season.
Study yourself and be fluid in spirit. Do
not stand rock-like sgslnst any Innovation of
the time, but say. "I will try whether It be be
coming." Be not narrow in four studies of
clothes. Be catholic In your admirations. But
be Arm in your final decision. So you will
achieve qualntnss
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