Social Life Part 64

Edmond Russell severely criticises diamond solitaires for earrings and esteems the stone a difficult one to wear except when small and used in quant.i.ties as settings for other jewels.

The secret of good taste in jewels is for a woman to seek out those gems whose colors harmonize with or heighten her own tints, as she does the shades for her gown, and confine herself to them. It is quite the thing now to have a special stone, as it is to have a special perfume. For instance, the turquoise is very becoming to some (it is Mrs. Langtry's stone), garnets or rubies to others. The pearl, where it can be worn, softens the face more than any other jewel. The moonstone is very nearly as effective, as well as the beautiful opal.

Rings, some authorities say, should be worn in barbaric profusion, or not at all. A slender, beautifully modeled hand can afford to be guiltless of rings. One less perfect in shape, but white, can be enhanced in charm by a blaze of jewels.

Plump Women.

In the days of the painter Rubens stout women were the most fas.h.i.+onable creatures that walked the face of the earth. Rubens would paint none other than those of very firm build, and so artistically did he drape them, so cleverly did he pose them, and so well did he color them, that every woman aspired to sit for his pictures. To be painted by Rubens was a guarantee of beauty, grace and feminine loveliness of every description.

The Rubens woman is a stout woman of good figure. Stout women nearly always have fine forms. Their bust line is good. It is low and the neck curve full, even if not very long. The Rubens artist makes the most of these good points and conceals others.

In modern times, however, the stout woman finds that the fas.h.i.+ons are rarely meant for her. In view of this, a number of wealthy New York women have banded themselves together in a Rubens Club, with one of its chief aims the designing of dresses for the members. For this purpose a professional designer is chosen, an artist of no mean merit.

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 tr.i.m.m.i.n.g 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 ma.s.siveness 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 tr.i.m.m.i.n.g 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 diminis.h.i.+ng 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.

[Ill.u.s.tration]

"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 high light 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 quant.i.ty, 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 p.r.o.ne 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 head-gear 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 const.i.tutionally 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 l.u.s.terless 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.