Chapter XIV: Part 14

The president of the Rubens Club, who is a woman of beauty and wealth and great loveliness of manner, had the honor of having the first gown designed for herself. This was an evening robe of great beauty, a regular Rubens gown.

The materials were dead white cashmere and dull black satin, with a very little lace and jet. The under gown, or the gown itself, more strictly speaking, fell from the shoulders in a long, loose robe. In the front there was a center trimming of black satin and lace and a heavy ruffle of lace outlined the bust and suggested the waist. A few jets were added. The back fitted closely, and around the foot extended a deep band of the black.

Over the Rubens gown fell a robe of the satin. It was caught at each shoulder and fell into a train three feet long when the wearer walked. In repose it lay around her feet, giving her height and a becoming setting.

The good points of this gown are, first, the way it showed off the very plump neck of the wearer. The fine throat line was visible, but at the shoulders, where too much massiveness takes the place of fine firm flesh, the robe was draped. The arms were likewise covered at the top, their thickest part, and, as the robe fell over them when in repose, much of their apparent size disappeared.

The robe had one very odd feature. The train was a doublet one. The back of the robe was little more than walking length, but the ends were very long indeed. This made a square court train like a monarch’s robe, and could be easily brought front by the hand, for trimming or drapery when the wearer was not walking.

Black Satin and Sparkling Jets.

In choosing the color of the gown to be snow-white instead of cream color, the artist knew what he was specifying. White is a diminishing color, while cream color enlarges. The same with black satin. Satin, being full of lights and shades, is uncertain in size, and it is preferable to silk or velvet, which makes the person thicker. The jets are dressy, wicked little ornaments that wink at you unexpectedly and disappear.

Much pains are taken in choosing colors, and then comes the artist’s real work. The hardest thing is to fit out his patrons with street gowns that will be conventional, and yet Rubenesque. To do this he takes advantage of the cape idea. A stout woman in a neat fitting gown, not too close under the bust, looks picturesque with a golf cape swinging from one shoulder. It gives her height. The dolmans that open in front and fall low at each side are admirable also, according to his ideas.

COLORS AND COMPLEXIONS.

“A thing should be beautiful in itself, and it should be beautiful for you.” “Good dressing includes a suggestion of poetry;” but to gain this poetic grace careful study must be made of hair, eyes and skin, for a dress that is beautiful in itself, or beautiful on one wearer, may be a failure on another.

Study to “compose” your costume well; then, donning it, cease to think of it or yourself. Lead up gently to all contrasting colors that are introduced into a costume for linings of loose draperies, sleeves, or as vests. Glaring contrasts, or “spotty” effects should be guarded against. All brilliant colors in a costume should be reached gradually like a climax in music, or a highlight in a fine painting. Otherwise there is a jar, and the harmony of relation is broken.

Complexion Determines Dress Colors.

Sometimes a color used sparingly in a knot of ribbon, or glimpsed as a lining, is becoming, while the same color, used in quantity, or as a ground color of the costume, might prove inharmonious with the complexion.

It is well for every woman to choose a certain proved range of colors that she _can_ bear, and to venture cautiously or seldom on new experiments. These colors will be found like a musical scale, to harmonize well in almost any combination. Thus beauty, convenience and economy are all consulted by loyalty to these proved shades.

Endless arrangements might be suggested on the economical side of the question. The light evening silk of the season before may be used for lining or form the long loose front of the tea-gown of the present. The rich draperies of last year’s carriage gown may fitly furnish forth the natty velvet vest and dainty bonnet to wear with this year’s street suit, and nothing be lost.

One more caution as to colors. The very delicate blonde who has reveled in palest, daintiest shades must beware of presuming too long on that evanescent bloom, lest she find herself basing the color of her dress on a flower that faded years ago. Or else, maybe, on one that has unfolded into a richer bloom, and by not adapting her color scale to the changes of time, she loses all the beauty of the present.

Another mistake women make is to forget that lovely childish curves of early youth change with the advancing years and the babyish style of dressing, so becoming then, may be worn too long. The rounded throat of the plump woman becomes muscular all too soon, and the delicate throat of the slender woman is too prone to lose its soft outlines.

The changes of color that occur almost always in cool, pale blondes are often but changes in beauty; still, these changes in complexion must be met with changes in dress.

Combinations of Color.

“A secret of artistic dressing is to match the hair as nearly as possible for day and the eyes for evening.”

“The producing of an all-over effect by drapery, veiling, and headgear of the same shade is most thoroughly artistic.”

These two high art axioms may be given as a safe foundation for the choice of colors, in following which no one can greatly err.

The woman of mezzo-tints, of soft half-tones of complexion, hair and eyes, loses all color and force when she clothes herself with deep, intense hues. Low, warm, unaggressive shades are needed as a background to bring out all her own best points.

“Some people,” says Miss Oakey, “have many possibilities of form and color which may be brought out under special treatment, but most people have only the one possibility which can be improved upon.” Certain women may be dressed in one set of colors that emphasize the whiteness of their skin; and, in still another, that bring out their own color, while others must be content with one certain range of tints.

Red Hair, with Brown Eyes.

This type of woman may wear amber, deep lined with fawn or pale yellowish pink; dark, rich red, like a red hollyhock; creamy-white (creamy-white satin with pearls and old point lace); olives and dark greens, claret, maroon, plum and gold color.

Jewels—topaz, amber, pearls and gold ornaments.

All manner of lovely combinations may be made out of these colors; especially dark amber, approaching brown, contrasted with pale fawn or gold color. Topazes for jewels. Sable furs and the deeper shade of mink are exceedingly becoming, and the same colors of the fur can be had in most dress materials. There is also a certain shade of maroon which makes red hair a positive golden, and throws into bold relief the clear white tint of the complexion even when there are freckles. These same freckles are also improved by the wearing of this maroon color.

Red Hair, with Gray or Green Eyes.

This type may wear all the above colors, adding to them all the browns and purples. Amethysts may be worn with the grays. Grays and any of the above greens contrast beautifully.

The Ineffective Type.

This style of woman has dull, light brown hair, no brilliancy of complexion, usually gray or blue eyes. The type often numbers some of our most spiritual and intellectual women, as well as, very often, our constitutionally delicate women. It is a type very difficult to dress effectively. The black of velvet may be worn, and soft wools relieved by velvet or lace; creamy white, by casting reflected lights, clears the complexion. Be careful of this however. Warm, pale pink may be worn with it. Invisible blues and greens (in other words, very dark shades). The palest possible pink may be combined with these as linings, vests or ribbons. Pale pink, lined with a pink almost white; pale, but not chalky blues. Blue should not be worn in silk, unless of a very dull or lusterless quality.

Stylish and Appropriate Jewels.

If the eyes are blue, sapphires may be permitted (a gray sapphire is best); pearls, the greenish turquoise, moonstones, intaglios, cameos, antique coins.

This ineffective type frequently, because of better health, gains a warmer glow to the skin and a richer tone to the hair. In this case there may be added to the above colors yellow-browns, fawn-browns, and a little lighter green, contrasted with the darker greens.

Brown-black hair, steel-gray eyes, fair skin with color in cheeks, may wear all greens (save the very light), cream-white, fawns, grays, browns, reds, violet, a rich pink, and all blues. If any type can wear black with impunity, this can. For jewels, any desired stone.

Black hair, very dark eyes, golden-brown skin, warm color, brilliantly white teeth, may wear rich browns, clarets, deep amber, cream-white, warm pinks and flame-color. Avoid black and very pale colors. Yellow may be worn sometimes, but with a warning here to the black-haired type in general. A writer on color wisely says that “yellow is a color that should be suspiciously approached with black hair. It is very often but a vulgar contrast.” For jewels, diamonds and all rich colored precious stones.

Black Hair, Rather Sallow Skin.

This style can wear black, but it must be relieved by white laces to soften and light up the face, thus giving the “effectness of a drawing in black and white.” Dark grays, the dull reds occasionally. There is a peculiar yellow-red, dusty, unluminous, very dark, that can be profitably worn. Flame-color can be worn as linings, or trimmings, though since there is so little color in this style, no colors seem to have a true relation to it.

Dull gold is about the only ornament that can be worn, save a delicate onyx cameo. Flowers: white water-lilies, camelias, or the darkest, duskiest, damask roses, and none of these in such profusion as to appear conspicuous.

Black Hair, Clear Skin, Blue Eyes.

This beautiful combination gives a wide range of color for selection. Blues, especially sapphire shades, dark reds, pale pink, blue grays, white, both cream and blue-white, and black, solid and transparent. For jewels, pearls, sapphires, opals, turquoise, diamonds. White flowers, also violets, pansies, etc.

The woman with blue eyes should always have some blue about her. It is really extremely interesting to notice how blue brought up close to the throat and then a bow of the same in her hair intensifies the blue in the eyes, making even the pale, wishy-washy orbs a deep violet. When the blue beneath the face is too trying there must be some of the same put in the hair or hat, as the case may be. This applies to all colors.

Brown hair, warm brown skin, brown eyes, may wear browns, yellows, ambers, cream-white, rich blues, tans, fawns, all reds, olive-green and maroon; flame-color, and rose pink in small quantities. This type can wear sharp brilliant contrasts of colors if she choose, providing they keep within range. Black, blue, white and all cold, pale colors are to be avoided. The jewels may be diamonds and all rich colored stones. Brown-eyed women should wear brown for the very same reason that the blue-eyed woman should wear blue. Not necessarily entire brown costumes, but brown placed near enough the face to have the desired effect.

Dark brown hair, creamy-white skin and velvety-brown eyes, this combination is beautiful, and may wear the black of silk, or velvet with creamy lace to relieve the face. Dark reds, purples and maroons, peacock-green, olive-green, ambers, violet, rose pink, with pearls, amber, topaz, ruby, garnet, diamonds.

Chestnut Hair, Fair Skin, Blue Eyes.

This type can wear almost any color, except mauve and mysterious, pale colors. To wear yellow, she must contrast it with brown or subdued green.

Chestnut hair, gray or green eyes: this type must be more cautious, especially if the complexion be pale or sallow. Olive-green (not too brown), relieved with palest pink. White contrasted with old gold. Dark and light blues; purple with white; lilac and burnt cream mingled (pongee is burnt cream shade). Black with yellow greens. Red in small quantities. In almost every eye there is a touch of green. In some cases it is the predominant color, and when that is the case green should be worn.

Blonde, fair hair (pale gold or flaxen), blue eyes, with or without a rose flush: this is one of the few types that can wear blue-white. All cool, refreshing colors; cold silvery blues, pale greens, pale grays, black, even the shiny black of satin, are all becoming. Heliotrope, purple, cool violet, pink and lavender may be worn. It may be mentioned here that, while there are many other colors she _can_ wear, the cool blonde will never be better dressed than when adhering to the colors that rightfully belong to her, and to her alone. Her style is never more charming than when arrayed in sheer, floating, gauzy materials. But since winter must come, silks, velvets and all wools are at her disposal in the desired shades. Amethysts, emeralds, sapphires and opals should be her jewels.

Almost Any Color.

The golden blonde gradually deepens in color as time passes on; she has usually gray-green or hazel eyes, and a warm, rosy skin. It is a type that has a wide range of color from which to choose.

Warm reds and even flame-color can be worn, but ambers, yellows and fawns will be the more harmonious. Warm pink, too, black, brown, warm greens, cream-white, turquoise-blue, violet, purple and warm gray.

This same type with pale, clear skin, instead of the roseate blue, must choose very different shades. Olive-greens, all soft yellow-greens, cream and transparent white, pale peacock and turquoise-blues, pale amber, mauve pinks, shades of amethyst and heliotrope are all suited to this type.

Pearls, opals, moonstones, turquoise and topaz, all flowers may be worn, also pansies, sweet peas, and pale tinted roses.

All blondes, save the cool blonde, deepen in color as time goes on. Let them watch for this, drop their palest tints, and adopt a few warmer hues.

Occasionally, we see a blonde in whom this deepening process has turned the hair to a golden brown, brought out the warm golden tints of the skin, and with it the blue eyes. Here the mistake is often made of ignoring the blue eyes. This should never be done. Fawns and old golds are good for this type. Browns, deep, rich pinks, blues, all greens but the palest, bluish grays, cream-white and pansy-purple.

Gray Hair.

Premature gray hair has a picturesque and charming effect, often giving beauty to what might otherwise prove a commonplace countenance. There are several types to be considered. Greenish gray hair, premature or natural, accompanied with brown, or dark gray eyes, and a skin in which the brownish tints prevail, can wear all dark greens and olives, blue, browns, and dark amber, warm yellows and dark, dusky reds, yellowish-pinks, dark blues and purple, especially the brownish-purples, also cream-white. Gray or black is to be avoided. This range of color will, of course, be chosen from, in accordance with the age of the wearer. For jewels, reddish topaz, and amethyst are beautiful for this type, and tea-roses a most effective flower.

Gray hair with a lighter, clear complexion and, perhaps, some color in the cheeks, can wear the loveliest harmonies in grays. Black can also be adopted and any of the first mentioned colors except brown.

A pale complexion with gray or blue and snowy hair, will be elegant in the black of lace or velvet.

Prematurely gray with fine clear complexion, either pale or roseate, together with blue eyes, is a magnificent type. The gray hair gives the brilliancy of powder, and diamonds combined with turquoise can be worn with fine effect; pearls also.

The Black Gown.

Women, as a rule, consider their wardrobe incomplete unless it embraces at least one good black gown. “So very convenient, you know, and suitable for so many occasions.” In many respects this is very true. But there are several points to be considered. First, there are some types that should never wear black. Again, there are others that must carefully discriminate between the black of velvet, wool, satin, or lace, and the transparent black of grenadine and gauze. While to all comes the caution that, after thirty years of age, no woman can safely wear all black without thereby ageing her face.

Black certainly whitens the skin by contrast, but it brings out and deepens every line. Only plump, fair, unlined faces can safely bear the contrast.

In wearing black, the material whose tone is most becoming to the skin, must be chosen. For instance, very few skins can bear the glossy black of satin with its reflected lights. Black, however, may be softened by a profusion of cream laces or jetted until it scintillates with every motion, and for evening wear the bodice may be cut low, thus removing it from direct contrast with the face.

Various Hints.

Blondes may, if they choose, wear yellows in harmony with their hair. This possibility was first daringly acted upon by Worth with most charming results.

Blue eyes can always be deepened by wearing the appropriate shade of blue. White can be worn by women of all ages, and in almost all materials is it becoming. For evening wear and for day wear it is most satisfactory. Southern women make a point of dressing in it altogether.

For evening wear, where the complexion renders it possible, a very pretty effect is produced by wearing colors that relate or melt into the skin tints, such as pinky browns, soft drabs, ashes of roses or warm, creamy tints, like the heart of a tea-rose.

The Choice of Colors.

Much more lies in choosing a becoming color than people generally imagine. There is an old story told about some celebrated man, whose lifelong devotion to his wife was considered somewhat remarkable, as she was a very plain woman. One of his friends asked him what had been the first thing about her that had attracted him. He said: “A pink shawl that was lying on the back of the chair in which she was sitting made so pleasing a contrast to the white frock she wore that I thought only of that, and upon asking for an introduction to her solely on account of the pink shawl, I was then introduced to a wonderful fascination of manner and grace of mind which have enthralled me ever since.”

A woman’s surroundings of necessity play a great part in her appearance, but it does not by any means follow that luxurious furnishings have any more effect than the very simplest and plainest, particularly if they do not throw out well the beauty of the coloring. What shades of ribbon to choose, what colors to wear are far more serious matters than the majority of people realize.

The most stunning gown in the world, if it be unbecoming, will not be half so efficacious as the simplest and plainest of gowns of a becoming color and cut. This is emphatically a picturesque era, and wide latitude is allowed in the choice of what is becoming. But big hats, big sleeves, very stand-out skirts and a general fashion-plate air do not do for every woman, and she who has her gown made on the simplest possible lines will create more sensation in a roomful of very much gotten-up women than if she attempted to vie with them.

Harmony and Contrast of Colors.

The following is a list of colors which contrast and harmonize:

White contrasts with black and harmonizes with gray.

White contrasts with brown and harmonizes with buff.

White contrasts with blue and harmonizes with sky-blue.

White contrasts with purple and harmonizes with rose.

White contrasts with green and harmonizes with pea-green.

Cold greens contrast with crimson and harmonize with olive.

Cold greens contrast with purple and harmonize with citrine.

Cold greens contrast with white and harmonize with blues.

Warm greens contrast with crimson and harmonize with yellows.

Warm greens contrast with maroon and harmonize with orange.

Warm greens contrast with purple and harmonize with citrine.

Warm greens contrast with red and harmonize with sky-blue.

Warm greens contrast with pink and harmonize with gray.

Orange contrasts with purple and harmonizes with yellow.

Orange contrasts with blues and harmonizes with red.

Orange contrasts with black and harmonizes with warm green.

Orange contrasts with olive and harmonizes with warm brown.

Citrine contrasts with brown and harmonizes with green.

Citrine contrasts with crimson and harmonizes with buff.

Russet contrasts with green and harmonizes with red.

Olive contrasts with white and harmonizes with black.

Olive contrasts with maroon and harmonizes with brown.

Gold contrasts with any dark color, but looks richer with purple, green, blue, black and brown than with the other colors. It harmonizes with all light color, but least with yellow. The best harmony is with white.

Dress for Special Occasions

“The beautiful is the suitable.” “A woman careless of her dress is either unloved, or unhappy.” “Dress is to the body what good sense is to the mind.” “Dress is really a department of manners,” and appeals to the eye with the same force that gracious words and softly keyed voices appeal to the ear. Costliness is not the measure of the beauty of dress. Nay, rather suitability, harmony, becomingness, unobtrusiveness, fitness for the place and person are the qualities that make it perfect.

And because these canons of good taste are so frequently sinned against it has seemed best to give the proper dress and appointments for the proper times. Not as to particular styles for they are fleeting as the breath of fashion, but as to general principles which are well nigh changeless. Once certain of these fundamental principles, embarrassment and self-consciousness are banished.

Dress at Home.

It is, perhaps, the dress at home that tells most of the care and character of the wearer. Much regard is given to the dress for other occasions, but here comes the test of delicacy and refinement, the criterion of the individual.

Neatness is the first requisite, suitability the second. There is nothing more of an offense to good taste than seeing the delicate fabric, the ribbons, the laces of a once elegant toilet, degraded to the uses of the kitchen, spotted and soiled almost beyond recognition.

Have gowns adapted to the tasks for which they are intended. The neat gingham, the plain wool gown, are pretty and appropriate for the morning wear of any lady who must superintend the workings of her own household. Aprons, gloves, dust caps, which can be quickly doffed and will leave her neat and presentable for the stray morning caller without the necessity, on her part, of a change of costume, and on his, of a tedious waiting.

For afternoon the prettiest of toilets may be worn in the shape of house-dresses, or tea-jackets made of otherwise useless remnants of bright silks, and ribbons may be used to wear with otherwise presentable skirts whose original bodices have been long outworn. Trains, medium, are always pretty in the house, hence tea-gowns, from the richest to the most modest in cost, are always in favor. Avoid very short skirts for the house; they are awkward, and belittle you from a mental as well as a physical standpoint.

Observe the utmost neatness in every detail of the toilet for home or street. It is an old rule, but a very good one, that a woman may be judged “by her boots, gloves and pocket-handkerchiefs.” To this may be added “finger nails,” and last but not least, skirt edges. “No matter how elegant the general get-up may be,” asserts one fastidious critic, “if a woman’s skirt binding is muddy, frayed, or pendant, she is, to my mind, not a gentlewoman.”

The General Fitness.

The style of the person should have much to do with choosing the style of dress for any occasion. Only people lacking the slightest originality of mind would think of blindly following the dictates of fashion without any reference to their own physical style.

Very short women should not wear very large hats. Women with very thin faces should avoid wide hat brims and many plumes. Women with large, full faces should not go to the extreme in wearing small bonnets. To do so is but to exaggerate the defect in each case. No matter what the extremity of style may be, there is always a happy medium from which to choose.

Flying curls and a great superabundance of ribbons and fluttering ends belong only to a young girl. To persist in an extremely youthful style of dress long after the passing of youth, instead of adding to the apparent youth of the wearer, simply defeats its own end by exaggerating the defects it was meant to conceal.

Small, thin women should not wear too much black. Let them wear a profusion of fluffy laces about the throat; soft, puffy vests, or, as one writer observes, “learn something from Sara Bernhardt and her consummate skill in concealing bones.”

Short, stout women should see that all adornments, such as folds, plaits, etc., keep as much as possible in perpendicular lines. It is a mistake to think that perfect plainness will disguise the breadth, it rather emphasizes it. On this style of woman a loosely-fitted wrap has a better effect for the street than a tight, plain garment.

Common-Sense Sleeves.

A very stout or a very thin woman should never wear extremely light sleeves, no matter what the style may be. The stout woman should also avoid an elbow sleeve with loosely falling ruffles, and the trimming, if possible, should run in lengthwise folds or bands. This precaution tends to decrease the apparent size of the arm. The slender woman, on the contrary, is much improved by the puffed elbow sleeve ending with a fall of lace.

Let women learn to put on belts so that they will slip downward in front and up in the back. This does everything for the waist in making it look slender and graceful. If yokes are worn, it is well to remember that a deep yoke is more becoming than a narrow one. If it is short in front, it looks awkward, and if it is short behind, it gives a round shouldered effect.

Where a rich toilet is worn for any occasion, be sure that everything is in keeping. If the gown be of velvet do not wear with it a linen collar or cheap lace. If real lace is beyond the means there are always the filmy tulles and _crepe lisse_. If jewelry is worn, it should be of the best, be it much or little. The fan, also, for such a costume should carry out the idea of luxury.

Cheap, fanciful, pretty things have their place in connection with soft wool, or pretty cotton costumes, but “lightness or grace is one thing; magnificence or luxury, another.”

A very young girl should never wear rich, heavy fabrics; they are unsuited to her youthful face and ways.

The evils of tight lacing are so pronounced that it would seem almost unnecessary to remonstrate against them in this age of enlightenment, were they not so continually forced upon our view. Nothing could be more unbecoming to the women fair, fat and forty, who are usually the ones to adopt this custom; an inch less in waist is hardly gained at the price of an unbecoming flush, a labored breathing, and a serious injury to the health, besides the lack of grace that comes from binding and constricting any portion of the human form divine.

Gloves and Shoes.

To have many dresses is always a mistake even among the very wealthy. They are constantly going out of fashion and unless the owner is continually seen at balls, receptions and other gatherings, they are entirely unnecessary.

The glove of to-day is fitted comfortably. Nothing is more indicative of a lack of taste than to crowd the hand into a glove that is several sizes too small for it. The same might be said of the foot, and with more reason, since a painfully tight shoe not only injures the health, comfort and complexion of the wearer, but is ruinous to all grace of carriage.

There is nothing marks the true lady as much as the perfection of neatness and style in gloves and shoes. To be well gloved and to have one’s feet neatly clad, no matter how plain the attire, is to be well dressed.

(Other hints on this subject will be found in the departments of “Art in Dress” and “Colors and Complexions.”)

The umbrella, too, must be carefully chosen. If it is possible to have parasols and umbrellas for different occasions, then there is no difficulty of choice, but where one must answer for all occasions of the season, let it be a plain, dark or black silk. This will be suitable at all times, but if the fancy of the moment, as to pale and delicate colorings be consulted, the result is too often painfully incongruous. In buying gloves, shoes or umbrellas, it is worth while to invest in a good article. There is no economy in the poorer grades.

Artifices of the Toilet.

All artificial aids to beauty should be sparingly used, and have no place whatever upon the toilet table of the young girl. Powder and paint are so obvious to the eye, that their use, or rather abuse, by some otherwise sensible women, is a continual wonder. A dust of rice powder is sometimes excusable, but there can be no possible apology for the “made-up” faces one sees upon our streets. They deceive no one and have no excuse for being. The woman who stands in the pitiless glare of the footlights must needs add color to replace that stolen from her face by the strong white light of day, but others have no such excuse for “frescoing” the face. It is a sin alike against good taste and good breeding.

There are various simple preparations that can be used to clear the skin, and various massage treatments to smooth out the cruel little lines that time writes on all faces, and kindly unguents to fill out the hollow cheeks and temples, and thus keep the outlines of youth a little longer. And there is wholesome living and vigorous exercise, and daily and revivifying baths to call the flush of health to the cheek; and loving thoughts and kindly deeds to keep the eyes soft and bright, and thus to set the inroads of time at defiance for many years. And since a woman is no older than she looks, and since the prerogatives of youth are dear to the heart, it is her bounden duty to keep herself sweet and young.

There is one excusable addition to the personal charms and that is where nature has denied the grace of luxuriant locks. This lack can be so cunningly supplied by the hairdresser’s art that detection is impossible, and as it ever has been, and ever will be, that a woman’s hair is a glory unto her, there can be no reason against her hiding from view any lack of it when it is done in an artistic fashion.

When to Wear Jewels.

Mme. de Maintenon declared that good taste simply indicates good sense, but many women who boast of good sense seem not to have the slightest idea of the times and places for wearing precious stones.

It is conceded by all authorities that articles of adornment consisting of or containing jewels or precious stones should never be worn in the street. Exception is made in favor of rings and watches. The woman who wishes to adopt correct form in dress will never wear any but the simplest little pin to fasten her gown at the throat during the morning hours and on the street.

For ceremonious visits, a pretty and ornamental pin of gold is proper, or of gold and enamel, but even then it should have a useful purpose; it should fasten some part of the toilet. The enameled and gold wreaths of myrtle or of forget-me-nots are extremely pretty for these simple pins. So are the true love-nots or a flower of enamel upon gold, but without the all-prevailing diamond dewdrop or center.

For dinner, a woman may wear the richest gems, it being understood that the function is a ceremonious one, and that she shall wear a low gown. Should she dine in a more democratic way and the men of the family do not wear evening dress, she naturally will wear a high gown or one possibly open a little at the throat. She may wear a pin with a single gem under these circumstances.

For balls, operas or entertainments of corresponding splendor, a woman, when she is not herself the hostess, may wear any number of well-chosen jewels. It is quite correct to be sumptuous in this particular, but well to remember that jewels, like flowers, harmonize or do not harmonize, and that emeralds and turquoises, for example, may not be worn in conjunction, because, as the French say, “they swear at each other.”

It is not good form to wear ornaments made in the form of beasts or reptiles. The sacred emblem of the cross set in shining jewels and worn at ball or rout, shows a most pitiable ignorance of the eternal fitness of things.

Well bred young girls are limited as to jewels—a string of pearls for the slender neck, a ring with the natal stone or an armament of turquoises and pearls, a little gold love manacle about the wrist, that is all, and quite enough until after marriage. A bride may wear for the marriage ceremony either diamonds or pearls—not in profusion—but never gold ornaments.

Use of Scents and Flowers.

The use of various scents is more sinned against than any other toilet accessory. Only the faintest suggestion of perfume should be allowed to hang about the garments of a well-bred woman or girl. To wear any redolence on the person in the shape of sachet bags is unpardonable. To many people strong perfumes are extremely unpleasant, and those who have regard for the feelings of others would forbear their use for this reason alone, even were it not a sin against the canons of good breeding as well.

When perfumes are used, it is a dainty custom to choose one favorite scent and to use that, and that only, so that in time the sweet, illusive odor becomes almost a part of the personality.

Flowers, fresh, dewy flowers seem the natural adornment of youth especially, and to forswear the pretty custom would appear an uncalled-for giving up of the sweet thought which dedicates the flowers of the field to their human prototypes. Yet there is reason in the custom that has, in great measure, withdrawn them from the heated ball-room and the artificially illuminated dinner table.

Corsage bouquets, in dancing, become an early ruin. Carried in the hand at a ball, they are speedily tossed aside on the nearest point of refuge and left there to ignominiously fade. When flowers are worn at an evening entertainment, choose those that will best stand the light and heat.

The Face Veil.

In spite of the protestations of oculists, women continue to regard veils as an essential part of their toilets; first, because they are becoming; and, second, because they keep their hair in order. The plain tulles and nets, which come in all colors, single and double widths, are always pleasant to wear and less trying to the eyes than the coarser meshes. The veil of Brussels net wrought in sprigged designs is a failure. It is becoming to nobody, and is essentially inartistic.

Women with dark hair and eyes and a brilliant color look well in veils with the dots larger and nearer together. If the skin is clear, white veils are very becoming, though apt to give an impression of a made-up complexion. The woman with fair hair and blue eyes, and without color, generally looks best in a large meshed black veil, with the dots—if dots are worn—far apart. A navy blue veil makes the skin look clear and fair, and a gray veil should never be worn by the pale or sallow woman.

When to Wear Gloves.

The question of when to wear gloves is a much disputed point in the etiquette of dress. They are worn to dinner parties, but custom prescribes that they shall be removed in sitting down at the table. After using the finger-bowl, the gloves should be resumed before leaving the table, or else immediately after returning to the drawing-room. To wear gloves while assisting to pour tea for an “at home,” is out of place, but it is very usual to wear them while receiving in the afternoon, though their omission at such a time is pardonable. The visitors, of course, wear both gloves and bonnets.

At a “stand-up” evening supper it is not usual to remove the gloves since there is really no time or place to do it, where each one is expected to leave as soon as possible to make room for the next. Remove the hand only of the right glove and tuck it back under the wrist.

Dancing parties always call for gloves, preferably light in tint. To wear gloves while playing cards is also an unnecessary affectation of elegance. Walking, driving, shopping and all outdoor events, such as lawn parties, etc., call for gloves. Tint and quality of these are to be regulated by the occasion or the costume.

When to Wear Low-cut Gowns.

This question has but one answer, “Never by daylight.” In this respect the rule that governs the wearing of a man’s dress suit—“from dusk to dawn,” is applicable. Even on those occasions when the jealous daylight is shut out and candlelight reigns, dress suits and full _décolleté_ gowns are not permissible. A concession can be made by cutting the corsage a little low in the throat, and by elbow sleeves or almost no sleeves.

For every social function held from midday to a late dinner hour, young girls, especially, should wear their gowns cut high with long sleeves, except on some gala occasion, when the rule may be somewhat relaxed as above.

Even at balls, evening parties, late dinners, the young girl’s evening dress, if _décolleté_, should be very modest in cut. Where a dinner and dance follow a large afternoon reception and the men who are invited are apt to arrive at dinner in full evening dress, a girl’s dress may be somewhat elaborated, but not to the extreme of ball costume.

Ball Dress.

For the ball-room the most elaborate dress is to be worn; _décolleté_ corsage, flowers and jewels are all appropriate. Those who dance should wear pale colors and light, floating fabrics, leaving the heavy silks and velvets for those who do not indulge in this amusement.

A low-cut corsage is not expected of elderly women unless they wish it. Chaperons can wear an elegant dinner dress if they desire; velvets or brocades, cut square in the neck, with a profusion of fine lace and rich ornaments. In short, she should be as different as possible from her charge.

If an elderly woman of full figure wears a low-necked dress, a lace scarf or something of that sort should be thrown over her shoulders.

Gowns cut dancing length or with train, are appropriate for the ball-room, but where much dancing is to be indulged in, trains are very much in the way.

Opera Dress.

For the opera the most elegant dressing is desirable. Ladies may wear evening gowns, and men dress suits. If they occupy boxes this is almost an obligation. Light colors render the house more attractive—are, in fact, a part of the whole spectacle. Jewels and flowers are there, and those who wear visiting or street costume are in the minority.

If a man wear a dress suit it is expected that the woman will show him sufficient respect to wear an evening gown. The man’s costume is donned out of respect for the occasion and the woman, and she betrays utter ignorance or remissness of duty when she does not return the compliment in kind.

High hats are an abomination at opera or theater. Where anything is worn upon the head it should be in the shape of a tiny bonnet, a dainty confection of tulle, flowers and ribbon.

This is especially necessary where a public conveyance must be made use of to reach the place. At an opera matinée the bonnet must be worn in connection with an elegant visiting or reception costume.

Middle-aged women wear the same costume at the opera that they would at a dinner party.

Theater Costume.

To dress for the theater is a much simpler matter than for the opera. Display is not required here. Elegant visiting or promenade costume is appropriate. Dressy little bonnets or small hats, gloves, either matching the gown or light in tint, complete the theater toilet. If a large hat is worn to the theater, common courtesy demands its removal that those in the rear may see the stage.

Dress for concerts admits of a little more display than for the theater. A silk gown with a little lace and jewelry, and white or light kid gloves.

Dinner Dress.

A lady’s dinner dress may be elegant as her fancy dictates. But if she is hostess she should never try to eclipse her guests. Trained gowns are eminently suitable, and may be worn by maids or matrons alike. Full length trains are not necessary, and even demi-trains need not be worn by very young women. But the soft sweep of a train lends an added grace to a woman’s gown, and this is one of the few places where it can be appropriately worn. The corsage may be cut square, or heart-shaped, or opened at the throat in any pretty way, but never so low as for a ball dress. Sleeves are usually half length, and bracelets are given an opportunity for display. Long gloves must be worn. As to color, all shades, from the safe selection of a black silk or velvet, down to the palest tints, are in order, the only proviso being that color and material suit the style of the wearer. An elderly lady inclined to stoutness, and with a florid cast of countenance, is at her worst in light silks or satin. They heighten her defects, while darker shades subdue her coloring and serve to decrease her apparent size and superfluous breadth.

For a young girl, a simple dress of wool goods in white, or pale becoming tints, is all that is necessary. Open it slightly at the throat, soften it with a little lace, show the pretty arms in a demi-sleeve, and it is far more suited to her youth than an over-elaborate gown.

If the dinner is held by daylight and the men wear morning dress the ladies must confine themselves to high-cut gowns turned in slightly at the front and fastened with a simple pin of gold enamel, with, perhaps, a single gem at its heart.

Traveling Notes.

A dress for traveling should be plain and serviceable; a tint should be chosen that does not show soil or dust. A duster, an ulster or over-garment of some kind made of pongee silk, linen or whatever material is in vogue, should be worn to protect the costume from smoke and dust.

The hat should be plain and a veil worn to shield the eyes from cinders when traveling by railway. A pair of slightly smoked spectacles are very good for this purpose. Carry an extra wrap and a hand-satchel to hold the needed toilet articles. Let everything else go in the trunk. A woman burdened with “big bundle, little bundle, bandbox and umbrella,” is a burden to herself and a terror to others. Let the satchel contain a flask of some invigorating toilet water—Florida, lavender or whatever is most refreshing, with a soft sponge to bathe the face, hands and wrists, and thereby many a headache can be warded off. If traveling in a sleeping coach, a larger valise should be carried and ought to contain a pretty loose gown of dark silk or wool to serve as a slumber robe, since clad in this one may safely venture from berth to dressing-room without exciting observation.

The rule for traveling dress is that there should be nothing about a lady to attract attention, but this is relaxed in case of ladies traveling a short distance for a brief visit, who are privileged to wear the dress that suits their purpose.

Bridal Dress.

The conventional bridal dress is pure white, whether the material be satin, silk or muslin. It may be made trained or walking length. If a veil is worn the gown is cut _en train_. White satin slippers must be worn and white gloves. Rip the fourth finger of the left-hand glove ready for the ring; the maid of honor will turn this back at the proper moment. Natural flowers are carried and a wreath is worn with a veil. The veil should sweep to the edge of the train and may be simply a cloud of sheerest tulle or filmy lace worth a king’s ransom. It may be worn over the face or not, as fancy dictates. Sometimes a white leather or pearl bound prayer-book is carried instead of the bouquet. This custom has the advantage of having the prayer-book as a memento of the occasion, while the flowers wither. A young girl, known to the writer, carried with her to the altar the same prayer-book that her mother before her had carried on her wedding day.

The wedding dress, no matter what its material, must be cut high in the neck and with long sleeves. This in deference to the fact that a marriage is not simply a gala occasion, but the turning point for weal or woe in the bride’s life, and a solemn sacrament of the church, and not to be celebrated in the garb of frivolity.

Where flowers are worn, orange blossoms are particularly appropriate, though no German maiden would think of donning the bridal veil without its attendant myrtle wreath. Any white flowers, however, are appropriate.

Where jewels are worn the choice is absolutely confined to pearls and diamonds (not in too great profusion). Instead of flowers, the veil is sometimes fastened with a star or sunburst of diamonds.

Widows, no matter how youthful, are not privileged to wear the white bridal robe, the veil, nor the orange blossoms. However, the most exquisitely delicate tints may be chosen for their adornment.

If the marriage is private and the bride leaves immediately on her wedding trip she can be married in her traveling suit. At other private weddings, where no trip is taken, the bride usually wears a pretty reception or visiting costume of silk or wool, choosing some color that will be appropriate for after-wear.

The bride’s mother, whether the wedding be at home or in church, wears an elegant reception gown. Even if she be in deep mourning she lays aside its sombre shades for this one hour. Invited guests should also avoid mourning garb.

Bridemaid’s Dress.

The bridemaids’ dresses are often all of white, but frequently color are chosen, sometimes all alike; again, two by two of different hues. The material of these gowns must be much less expensive than that of the bride’s. Their bouquets or baskets of flowers may be either white or colored. They sometimes wear lovely picture hats with broad brims and drooping plumes.

What Wedding Guests Wear.

If the wedding reception is held in the evening, full evening dress is worn; reception gowns being suitable for the elder ladies. (See “Ball Dress.”) Where children are present, the girls are dressed in sheer muslin or lace over silk slips, and adorned with fluttering ribbons. The boys in fanciful costumes, such as pages’ suits, etc. If it is a morning reception, rich visiting or promenade costumes should be worn, small dress bonnets and white gloves.

Ordinary Evening Dress.

This applies to small parties at home or with friends, to receiving calls at home or in making an evening call. It should be appropriate to the season. Pretty wool goods, exquisitely made, in winter; organdies, grenadines and mulls for summer; laces, a modest bit of jewelry or a simple flower, and one is sufficiently well-gowned.

If the gathering is a little more formal, reception dresses may be worn by the matrons, while the young ladies garb themselves as for receiving at an afternoon tea.

If gloves are worn at all on such an occasion they must be light colored. They are really unnecessary, unless the taste of that especial “set” is very strongly in their favor. If in doubt, it is well to go furnished with a pair for use in case one finds all the guests gloved, and has not the moral courage to remain the exception.

Dress for Church.

Well-bred people attend church in simple costumes, free from display. These may be of rich materials, but they are quiet in color and make. Jewelry, other than a simple pin, should not be used; earrings, of course, if one is in the habit of wearing them, but not diamonds. The church is not the place to flaunt elegant attire in the face of less fortunate worshipers in the “I-am-richer-than-thou” style that marks the _parvenu_.

Receiving Calls.

A lady with regular days for receiving calls wears a reception dress as before described. Casual callers she receives in her morning or afternoon house dress. Her morning dress, if she superintends her household affairs, should be plain and neat, and be so protected by cap and apron that by doffing these, she will be presentable in a moment.

Where there are no household cares, a daintier morning dress may be adopted, but let it be suitable to the occasion, not some old, half worn finery revamped for the occasion. If visiting, a still richer gown may be worn, and for a late breakfast at a watering place one may be quite luxurious.

Calling or Visiting Costume.

For morning calls dress quietly in promenade costume. Wear light-colored gloves unless in deep mourning. If driving, carriage dress may be worn. For day receptions the dress may be more elaborate and the bonnet more “dressy.”

By not carefully distinguishing between the gowns for different occasions and over-dressing at all times, women lose all the advantages of contrast in style. If lace and silk are worn indiscriminately, what is there left for the full dress function?

Walking Dress.

This should be plain—tailor-made is the best—walking length, and of good material. “Fussy” styles should not be chosen for street wear, and the hat or bonnet should be rather plain and harmonize with the gown.

Carriage Dress.

There is much more latitude for display permitted by the carriage dress. Rich materials, elegant wraps, costly furs, are all allowable here.

Coaching parties, too, have grown to be occasions for most gorgeous costuming. Every hue of the rainbow is to be seen as the lofty tally-ho rolls past, until, so great has become the license of color and richness of material, that the “four hundred” are calling a halt, and soberer tints are beginning to mark this amusement.

Do not wear too many fluttering ribbons, especially if occupying that coveted position—the box seat. It does not add to the skill and accuracy of the driver at a critical moment to have a fluttering ribbon cut like a whip-lash across his eyes.

Dress for Lent.

This should be the sort of gown most appropriate and becoming to the attitude of repentance. The gowns, of course, are simple, quiet affairs. Symphonies in gray, poems in black and white, must, says one writer, “reflect in their construction as well as color the soberness of the event which they will grace. A train is always admissible for the Lenten robe—that is, if it is for house wear. Otherwise the skirt must be short—quite short enough, indeed, to give one’s churchwomen a glimpse of a dainty gray or black walking boot.”

Any of the heliotrope, mauve or pansy shades, also, are appropriate expressions of the sorrow of the fashionable woman, thus giving a color scheme capable of the most exquisite effects. White cashmere is well suited for the house; and very little draperies, but long, straight lines, give the sought-after effect, and thus the dainty chrysalis rests during the forty days that precede the unfolding of the gorgeous wings of the Easter butterfly.

Dress for Riding.

The riding-habit should be made of broadcloth or some other suitable cloth. The skirt should be weighted by sewing shot in the lower edge of the left-hand breadths. Equestrian tights should be worn. The habit is sometimes worn over another dress-skirt, when, in case of dismounting or accident, the habit-skirt can be slipped off and the rider still left properly attired.