Omaha Daily Bee Newspaper, October 1, 1916, Page 22

A Lively Winged Effect in Velvet with a Sea Gull in Applique. Hats with Strange ~Applique .Designs, and ~ Slippers with Falls of Expensive Lace That Sweep the Ground FTER the painted hat comes the embroidered bonnet. Fashion, seeking ever after novelty, takea what cafches its eye wherever It sees it and makes it its own, irrespective of its source. And so we have the very odd hats that you see on this page. The character of the émbroidery used .produces &m applique efféct—a sort of in. lay in a lighter shade upon a dark back- . sround. Thus, the shapes of these odd new hats fit the head closely, lfke 4 modi- fled toque, arid are of a reasonably firm material, like velvet or felt. As will be seen from the {llustrations, the embrold- ered designs aro mostly compact mgsses clearly outlined—as when whitewood is inlald upon ebony, or any other darker wood. In one example the felt shape is as plain as the Inverted bowl of a dipper. A broad band of dark velvet stitched to the brim with white wool is the only orna- ment save the vertical front panel of the same velvet upon which the distinguish- ing design is embroidered, within a frame of white woolen stitches. Here the de- sign is & portrait of a Rembrandtesque gentleman wearing a woolen skull cap with a white tassel. This very old feminine headplece sug- gests a broad fleld of possibilities, Are fashionablo young women shortly to be seen going about with portraits of their intended husbands appliqued upon the front of their hats? Or, perhaps baving one's family crest thus displayed will be. come the vogue. A ‘more charming variation upon this tuode is an all-fur toque of miniature size with a little bow at the top of the front “ from which {s suspended an odd drop ornament. The applique decorative de- sign is embroidered in dark and light . colors upon a band of braid encircling the Oddest of all is the embroldered velvet . shape towering to a lofty point in front ' and having a general resemblance to the .ceremonial headdress of a priest of the Greek Church. Indeed, the whole design suggests Greek eccleslasticism, including the suggestion of an inscription in Greek text which forms the border of the spa- clous pointed front. Shells, flowers, fishes and birds enter into the compli- cated design, in the centre larger figures of an owl poised eroct between two in- quisitive swans. One can imagine the sensation likely to follow the appearance of a hat like this in the Easter Sunday Fifth avenue parade. Another, really a quite fascinating ex- . ample, is the velvet toque surmounted at b fis back of the top by flaring folds of the same material having winglike lines. ‘This suggestion of tilted wings in motion is-emphasized by the large crown design An’ white represonting a sea gull I 1o 20 olint {oliming-end 15 would be g - will be seen that this new type of has possibilities of individualization ich should make it very acceptable to ‘with a passion for originality in attire. t {s not epsily Further, in its. characteristic feature, for ?u multitude. One might that it is an aristocratic hat— mlflflww sees fit-to claim it e Ceremonial eaddress of & Priest Ny ‘~ ZN A Small Fur Toque with Pendant and Appliqued Braid. At the opposite pole of the fashionable sphere stands the pair of extraordinary slippers portrayed on this page. One has heard of the Parls actress who never permitted the soles of her slippers to come in contact with the vulgar pave- ments, yet certainly she had no such excuse for that prejudice, as a glance at this pair of slippers suggests. Long skirts for walking gowns have gone out, largely for hygenic *reasons — because they sweep the streets and gather up microbes, But here is a new slipper with a long “skirt” of its own—a fall of the most ex- pensive lace extending from toe to heel and dropping to the sole. It is easy to grant the novelty, and probably the luxurious charm “of these lace-skirted slippers; and to accept them with grate- ful toes for that class of feet which are frankly more ornamental than useful. These new tip -to-toe fashions sre a fresh demonstration of the increasing dif- ficulties which confront desiguers of women's attire whenever novelty is the main object striven for. In the mat- ter of the main es- sential, gowns, the changes have been rung upon every note of the gamut of col- ors and forms and possible means of embellishment until originality would seem to be the vain- est of quests. To make gowns shorter, or longer, closer- fitting or more loose, are devices which have marked the main course of fa- shions in the last few years. There have been charming effects produced by famous artists in the handling of dress fabrics, but only an occasional note of real novelty—the great goal of all dress- makers, The quest of the new ideas in head- geéar seems even more despairing. The feminine passion for hats, innate in every individual of the sex, has been recognized by the wost extraordinary inventiveness Copyright, 1016, by the Star Company. and industry on'the part of designers. And, although every hat must harmonize with the costume of which it is the fin- - ishing touch, pretty nearly every object in nature or in art has been pressed into service as an inspiration for new shapes and adornments Very seldom has there been a depart- ure frem the main-traveled road of hat possibilities so wide as that illustrated on this page—and mainly confined to the department of decoration. If this idea Great Britain Rights Reserved. The Luxurious New Slipper with Its Fall of Fine Lace Sweeping the Floo:. of solid figures inlaid upon darker back- grounds in the make-up of hats proves captivating to the feminine fancy. at least one benevolent purpose will have been served; the cart-wheel and the big floppy construction will cease to monopolize space in public conveyances. This, how- ever, would seem to be a forlorn hope, a8 the costliness of the new mode will harly bring it within the means of that multitude of the fair sex who have to travel by trolley and subway Bowl of a Felt Dipper with a Portrait Panel in Front. Why Laughing Makes You Fat £6 AUGH and grow fat” has been a L proverb for hundreds of years, yet few people have taken the trouble to find out why laughing should make one grow fat. Jolliness and stout- ness are generally found together; not that ail stout people are jolly, but that nearly all jolly people are stout. It is, ina t{:easuge, due to the influence of the mind over matter, but there is also a hysiological reason. ° 2 B}‘,nt !ssthe result of good digestion. It shows that the food eaten is readily changed by the processes of the body into living tissue. Of course, extreme stoutness or obesity may become so in- convenient as almost to be a disease, but, even so, this is still due to the ability of the body to get the full meas- ure of worth out of the food consumed. The sufferer from chronic dyspepsia and the various forms of indigestion is actu- , ally as thin as a rail. 1t is not always a matter of quantity of food, Some thin people eat a 2reat deal, some stout people eat very little. Nor is it entirely a matter of quality of diet, though this often has a great deal to do with it. For example, Jewish cook- ing is much more fat-producing than American cooking. Still, it is not uncom- mon to see stout people whose diet is spare and limited. Since stoutness, then, is panly the re- sult of a good digestion, the old' proverb majy be turned round: “Grow fat and you will laugh,” for it 1s not easy to be jolly with indigestion, heartburn and other similar “ills that flesh is heir to.” Moreover, a good cushien of fat is a great preventive of cold and a great aid in keeping the body at an even tempera- ture during changes of weather. In a climate so variable as that of the United States it is of great importance to be able to resist these weather changes, for it calls heavily upon the resisting power of the constitution of a thin man or woman to maintain an even body tem- perature when the thermometer vol- planes thirty degrees in one day. Stoutness is a little like a brake—it keeps the body from plgging up and down in response to the vagaries of the weather. " This induces contentment and makes laughter easy. It may be asked, Will laughter make & thing person fat? Undoubtedly. Laugh- ter, real, hearty laughter, a rib-tickling guffaw_is even better than a yawn for emptying the lowest passages of the lungs and bringing air into their inmost recesses. Few of us ever breathe deeply enough, and in consequence a large section of the lung is not only unused, but it is filled with stale air. Many lung troubles—such as tuberculosis—are invited by this con- dition. But the man who laughs heartily and often need have less fear; he clears out his lungs; he uses the full extent of their passages for taking the oxygen into his blood and making it a rich, full red, and thereby he keeps the body fluids up to their full powers of doing their work of digesting the food and carrying to vari- ous parts of the materials for the build- ing up of new tissues. Tradition tells a story of Titus during the siege of Jerusalem revealing the be- lief in the “laugh and grow fat” idea cen- turies ago. According to the legend Titus was sitting in his tent, pulling on a pair of the long war greaves or boots with studded leather protectors over the shins, and had donned one of these when a messenger arrived to tell him that he had been given imperial honors in Rome. He burst into a fit of delighted laughter, and when he tried to put on the other boot his foot had fattened so that he could not get it on. All the heathen gods who were patrons of jollity are represented as having been stout; all those who were serious were pictured as thin. In literature the same holds true. Falstaff is fat and Hamlet is thin, Caesar says to Antonius: “Let me have men about me that are fat.” In fiction Sancho Panza with his jollity is rotund, while Don Quixote is built like a lath.