Omaha Daily Bee Newspaper, April 25, 1915, Page 23

The Extraordinary New Headdresses That Frame the | Face, and the Charming New “ Waterfall” Dresses new, she is at the same time always loath to leave the old until some more courageous sister shows the way. Now, I belleve that when an idea comes to us from the Great Source and that idea 18, as it must be, laden with good, if we will only under- stand and accept it, that we ought not to dismiss it just because it {s new or “hasn't been tried.” We ought to study it ourselves, find its meaning and use it, even i it does take courage. If we don't we'll find sooner or later that the ideas don't come so readily or so often. And why should they—if we don't appre- clate them? " [Plicture frame Plumes @y Lady o- Oulf-Gordon. ADY DUFF - GOR- DON, the famous “Lucile”™ of London, and foremost creator of fash- ions in the world, writes each week the fashion article for this newspaper, presenting all that is newest and best in styles for well-dressed women. Lady Duf-Gordon's Paris establishment brings her into elose touch with that centre of fashion, By Lady Duff-Gordon “LUCILE” ERE is an odd and interest- H ing headdress. The big mass of the plumes sits on top of the head somewhat, it has been suggested, llke the top of a picture frame. And certainly the drooping tips make a charming frame for the lovely face within them. The other part of the head- dress—it looks like a skeletonized Dutch cap—is rhinestones, or dia- monds if you prefer and can afford them. Down in the right hand corner you can see the dress that the headdress goes very well with, It is one of my very newest, and I am more than a little proud of it. It is all of black net and fine lace. The little light bodice is of black satin. The net falls from the hips in gauzy, “waterfall” effect, and under the net is the fairly tight fitting underdress—also of black. ‘The big, old-fashioned brooch and pendant carries out the old-fash- The photograph above shows the new “Plcture Frame"” Plumes, with their Imposing “top” effect and charming face-encircling feathers. The photograph In the lower right hand corner shows the dress that goes with the plumes. It is of black net and fine lace. The little tight bodice is of black satin, with diamond shoulder straps. The net falls from the hips In the effect called “waterfall.” The dress at the left corner is another “waterfall” of black tulle and black jet embroldery. foned note and also the didmonded part of the headdress. The effect is quite lovely, I think, And that yhrvc. “picture frame plumes,” leads me to a little dis- sertation upon framing as applied to the face in general. 1 don’t see why the framing idea {sn’t an exceHent one to be devel- oped. We frame a plcture to bring out its full effect—an effect impos- sible without the relief of the fram.e, although there are pictures that look better without frames, and so, quite naturally, it follows that there are faces that would be better without framing. But what 1 mean is this: Suppose one has really the loveliest eyes. Why not call attention to them? Of course the “beauty patch” was designed for just that. But it has been used ©0 much that no one notices it any more. It has outlived its useful- ness. But a feather, for Instance, falling down from the forehead and cunningly accenting one of thé eyes—how it calls attention at once! There are artful ways of “framing” eyes, & beautiful ear, lovely mouth—yes, even un ex- quisite nose that will leave noth- Al “Luclle” models and creations. ing of the grotesque about it and will only be most charming, I am more than half in earnest about it—yes, fully three-quarters, It 1s only the novelty of the ldea that may sound & little absurd. But here is the face—and here Is the frame—and see how very nice it al] is! Down in the left hand corner is another of the new dresses. It has the “waterfall” effect, too, but not tothe extent of the other. It is all of black tulle and silk and Jet embroidery. Both dresses have the cunning little disguised hoops that I invented especially for this season. The bodice is caught up with little dlamond shoulder slraps. Here 1 hark back again to “plc- ture frames” for our faces. I have said that it is only the novelty of the idea that causes one to hesi- tate and be a trifie—perhaps— shocked. It is a curious thing that fashion, which is ever chang- ing, should be at one and the same time the most radical and the most conservative of human phe- nomena. I mean that although woman is ever seeking something For instance—most people would not think of making anything out of anything except accepted dress fabrics. There are the con- ventions, the mechanics of the art, and they mustn't be disturbed. Nonsense! Some- times I see a plece of cloth that is intended for upholstery—a covering of a chair ora sofa perhaps, and the idea comes to fne: “What, & marvellous thing to usé on a dress!” Do I hesitate because that fabric was designed for a chair or a sofa? 1 do not. I use it as the idea dictated, and lo and behold, it makes some woman beautiful! Or 1 will see some window curtains, and if the idea suits me those curtains appear with perhaps the most wonderful of hand-woven fabrics upon some beauty, and the humble curtains are made glorious. The philosophy of life, or one part of it, as I see it, is to take the good wherever you find it and if by chance it lsn't in its proper place, or would be better in another place, put it there. When you do that you work in harmony with the Great Source, and it doesnt matter whether what you work with is cloth or humans—the principle is exactly the same. And that is the reason I always advise women to stick to the fashior that they have found best suits them—unless, of course, they find another fashion whick.suits them better. One of the dresses I wear, the “Curate,” I designed ten years ago. And it 1s still not a bit “old-fashioned.” It suits me, and I have it made up ! ey Lo, P in & number of colors 1 find something better—no matter what the “fashion” of the moment may What we all must do {s the dest ~~in dress as in everything And when nmu.v;-“n:wnumu matter whal or what the setting in- which we find it