The San Francisco Call. Newspaper, January 28, 1906, Page 13

THE SAN FRANCISCO SUNDAY CALL. woman—her every fcature. She makes Her features—she doesn't confine her- always shifting, always drawing She provides herself with colors of draws them up to the waist ihe. In an inventory, as it were, of her charms. self to a casual satisfied full-faced re- around her, always in imminent danger all sorts that fashion permits, and lays selecting her underwear the Frenmch Her hair—she shakes it out to the fullest flection of them. She takes her hand ' of losing, but very carefully never them against her skin to get the effect, woman considers just one thing—and display of its luxuriance or scantiness and mirror and studles her profile first from losing. Oh, no, it isn’t her thin neck and having found the shades that bring that is her figure. She does not allow examines the color and quality. Is it one side, then from the other, and at that makes the scarf or boa necessary out her best possibilities and con- ruffles and ribhons to interfere with the glossy, plentiful, becoming and tractable, every angle and expressior, looking up, —-it is only the current of air that sets ceal her worst. she limits herself to feminine asset. She never huys cheap, well and good. She studies ways of ar- looking down, smiling, pensive, sad, arch, her shivering and seeking protection. them. imitation laces, but even in middle ranging it to the best advantage to dis- angry—and most particularly angry, for Her complexion—she turns her She tries them not only over her walks of life French women employ play the perfection or hide the faultiness your clever French woman knows how hand mirror over and examines every sphoulder to get the effect from below, fairly fine linen in their underwear, of her features. She has with her the disfiguring anger is, and if she flqdl she square inch of it with the side that g: above her head to decide the color With hand embroidery and scalloped fllustrated journals of fashion, the latest cannot be prettily angry she will not be magnifies, and In ruthless daylight. £ her % h edges, which outwear innumerable fac- plctured modes of hairdressing, the plc- angry at all, except of course for purely There are no soft or shaded lights ©°f her millinery, and she tries her . .. . G "coic such as the Amerlcan tures of the most admired actresses and domestic purposes. in" the French woman’s dressing-room Street shades by daylight and her even- woinan eifects. Rich French women beauties in the public eye. She has as With keen discrimination she finds out when she inquires into the value of ing shades by artificial light use real tace nut sparingly. All thelr well in her mind’s eye the effectiveness her best feature and plays it up for all her complexion. Her figure—for this her full length attention is ziv the fitting of the of woman's crowning glory in the master- it is worth; she recognizes her worst fea- A French woman’s dressing-room, !vt mirrors come into play, and her tape underwear £ gauze. sne pleces that adorn the picture galleries. tures and conceals them so far as art me say right here, {s like nothing the measure. She conceals nothing from N »r linen shirt The clever French woman doesn't miss and a clever woman may, until even her American woman owns. - It is never herself, whatever she may from the beneath the corset. This is shaped anything, and everything that contributes worst enemy can only suspect them. her boudoir and her bedroom, too..The public. She has her scale of propor- like a man's undershirt and made to the beauty of woman appeals to her. Has she ugly ears, she doesn't drag French woman has only her bed in fier tion to attaln, and she makes her own rother short, though slightly ftted to When she goes to the Louvre or the Salon her hair away from them and expose bedroom, which is fisually the alcove measurements, and then demands of the figure. It buttons or ties with rib- she has a watchful eye for the beauties them in all their defectiveness. She off her dressing-room angd the bed Is her corset-maker and dressmaker 10 bons on the shoulder. }Her corset cover that appeal to the artlst eye, and she makes her hair.a shield. its only furnishing, a low affair on a fit her figure to that scale. If not ac- is mucl or th the one liked by isn't at all above gathering in a few Has she a brow too. high for beauty, dais, concealed by hangings that pro- tually at least apparently — and the American woman. She has no use hints for the toilette along with her art she puffs her hzir this way and pulls it tect her from all light while sleeping. this done, the groundwork of for tucks and gathe ticularly near education. that. and you'd swear her brow is low Her dressing-room, as pretty in color a French woman’s beauty is com- st line, and the ideal garment Cleo de Merode, for example, was and broad. and expensive in fittings as hér taste pleted. ‘Not so with the Ameri- estimation shows corset cover shrewd enough to catch the resemblance Has she a nose tilted too dangerously and her money can provide, is still can woman. She buys the latest d drawers in one piece, fitted with Bétisen hi ‘ irituelle face and that SKyward, she doesn't part her hair i the bare—really a laboratory, and all lux- and most up-to-date thing because it xreat care. F stout women the cor- Siwpen her el & middle and bring it low . in a classic ury, in the way of cushions, couches, is up-to-date, the fad of the moment, set cover and long skirt come in a& of Botticelli's Madonna when she Was ex- .., ‘gho piles it high and tousles it decorations and display, 1is reserved not because It is eminently suited to single piece, Ike a princess gown. tending her culture by wandering through oy in studiously distracting bob curls for her boudoir. It is unusual to find her figure, carriage, coloring, ete. The Her silk f which so much 18 the galleries, and she promptly borrowed that are made to look as if thev're riot- more /in her dressing-room than her French woman counts upon her figure, s ars really not an extravagance. the Madonna's style of coiffure, much' to ing and tumbling, and she has the satis- dressing-table, her double or triple not her purse, as her best ally. She They are merely ruffles of silk to match her own advantage and distinction. faction of hearing she is chic, full length mirror, a stool or curved studies fifst herself, her good points each gown, finished at the top with a And La Cavalaria saw possibilities In . Is her neck lovely, then it is groomed. seat without back before the dressing- and her bad, and the offerings of the band and buttonholes, which are fitted to the noble lines of the Greek colffure, and to a marble smoothness and - creamy table, and a little round platform be- shop afterward. She buys what will a knee length jersey or stockinet skirt, as promptly arranged her lovely locks softness. Massage alcohol and toilette fore the full-length mirror, on which emphasize the good points and soften which sits snugly and perfectly around on the classic lines of the marbles ‘dug creams, perfume that only suggests its she stands to see the hang of her skirt the bad ones, and everything that she the hips. The French woman has been from ancient Greece. presence, powder of just the right shade, to its very edge, and the effect of her buys is adjusted with infinite care. The sSeverely eriticised for g her skirts Thus, vou see, the Parisian woman— a little patch on a little mole ip just the bottines peeping out beneath. French _woman dresses after a differ- too high, but this is not mere coquetry who is of course ‘the quintessence of most piquant position, and if ‘the mole | Bottines, indeed, are very important ent method from that employed by the on hef part. Rather it is a habit due to French cleverness and coquetry—is no isn’t there she can make believe it is, (o the French womgn, and hosiery and American. After her bath, and while her abhorrence of bedraggled skirts and elavish follower of fashion’s distates. collars or neck band encircling but not frilly, witching petticoats. 'She is not still arrayed in nightdress and wrap- muddled shoes. The bottom of her skirt She makes fashions—and leaves it to concealing the roundness and faliness of moved by the Puritanical spirit to de- per, she “does” fer hair and her face. s always Immaculate and her shoes are the foolish to follow her. throat, decollete' cut on the most be- celve the world into believing that she Her hair is dressed with infinite care, kept In perfect condition. Though the 1f her hair Is not good then she studies coming lines—all are employed, and the scutties along on feet sewed to her the coiffuré built so firmly that it does latter are seldom as well made or as its faults. If the color is not good—pouf! admiring world goes into ecstacies about skirts, and she makes the most 'of her not have to be touched again until she good as those worn by American woman, what nature has neglected can be rem- a neck that might have been accepted as glancing, pointed little toes, her tip- retires at night, and she begrudges mo they make an excellent appearance, sim- edied and very delicately the becoming only ordinary. tapping high . heels, her trim little amount of time spent on this operation. ply because she bestows su.h good care should be worn If you are going In the street car. Here are, some hints on grooming, which, though small, are worthy the consideration of American women: The v, French woman avalls herself constant- \ ly of the dry cleaning process. She never wears anything until it is really (1} soiled, but has it cleaned directly it no longer appears fresh. In France a dressy blouse can be cleansed for 50 cents. She never wears a ready-made blouse, but has it fitted as carefully as she does an entire costume. She i3 particularly fussy about the set of her collars, employing tiny featherbone, bound with silk and cut the exact height she desires to’ wear her neck- wear. Just inside her 6 ruching she wears a touch of color, velvet or satin ribbon or folds, in her favorite and most.becoming shade. If she has thin arms she wears long-asleeved corset covers, the sleeves slightly puffed to give her shapeliness. After she passes her thirtieth birthday she never ap- pears on- the street with a hat that does not shade her face. She is par- tial to white veils, w soften the complexion, and espec to a white mesh with black dot She takes in- finite pains and numerable pins to adjust her veil. She abhors a loose end, and her vell always gives the pointed chin effect by being fitted o tint, not too far frem the original, is ar- No woman knows so well as a’ ankles, her half-inch of distracting She would no more think of leaving her upon them. . rived, at. this she uses no revolu- French woman how to use the little hosiery that she discreetly displays, and room without brushing her evebrows With a rough mornin walking suit tionary methods, her artistl¢ sense tell- curl escapved from the ‘coiffure to the frilly swirl of silk that now reveals than of sallying forth with halr In & wear an Oxford tle, with spats to match ing her that merely improving nature's point to the beauty of her neck. and now conceals curves you cannot tousle. This accounts for the beau- your gown or your shoe The sl scheme is wiser than reversing it. That No woman knows so well as a make auite sure of. > tifully arched eyebrows of the French should be moderately thick, the heel is why you never see a clever French French woman how to pin a rose inié However, we hadn't gbt to her an- woman. She trains them from child- moderately low and the arch should be woman radically changed from brunette her bodice so that it will artfu'ly ad- ‘kles. It was her methéd of managing hood. She powders her face, not thick- preserved. The flat bulldog last is no to bionde. vertise the charms it is merely sup- her complexion we were dealing with. - ly, but with the same palnstaking care jonger fashlonable, and a moderately, It her hair is too dufl and dingy, lack- posed to adorn. Read Balzac's deserip- The French woman doesn’'t need a that she bestows on her eyebrows, and pointed toe has come In even leather ing character, it may be brightened, even tion of Mme. Marueff’s way of jvear- perfect compléxion to be a beauty. She while she uses just a touch of rosy Up vamp, or a shoe of all very fine kid, for to a golden shade, or a dull-unlovely ing a rose if you would know. can be that without nature’s mingling salve, she never gives the impression walking. With a reception or calling brown it may be coaxed to a splendid Is her neck, on the contrary, -a -of rose-leaf jd cream. of using a generous make-up that the gown wear a cloth top shoe. Patent Titian, or an undecided brunette it may scrawny thing to weep over? Then However may shade and soften American woman does when she em- leather pumps are still good form for come out with the high lights of a deep the French woman doesn’t tell the the Iights ih her boudoir and salon and ploys these aids to beauty. evening wear, and house slippers have chestnut. 1f it is black she will have it world she has something to hide by dining-room, into the dressing she Not untfl she is perfectly satisfled high heels and match gowns in color. a rich, glossy, redolent black. wearing high-necked gowns when admits the strongest light by day with the appearance of her face and Louis Quinze bows have replaced buckles If it does not grow prettily from the decollete are apropos. ' and has/brifliant unshaded ligh{s by hair does she start to dress, and then for house shoes. White shoes must al- neck, does she follow the fashion of high No, indeed She affects a delicacy night. Here she makes searching ex- nothing passes over the precious colf- ways be worn with a white gown. If go- dressing? Not for a minute. Presto! the and a Sensitiveness to drafts, and a amination of her skin. Is there any fure: but she slips on her clothing by ing to the theater in a carriage you may fashion changes, at lcast for her, and luxuriousness in scarfs and boas and ‘blemish, a little roughness, an unwel- drawing it up from the floor. If she wear satin slippers to match your froek, %air is worn low. beguiling tiuffy things, that she is come redness, a pimple, a mole, a is going out, directly she has adjusted or patent leather pumps. Calling shoes ' . the Frenc Viewpoint THEL F, % snugly to the outer edges of the hat. FRENC She never wears a glaring contras’ in o W dry girdles. Her belt is always a part ,fo/"f.j‘ of her gown, not an accessory. If her skirt and blouse are of different color = (which rarely happens) the girdle matches the blouse. She never wears a glittering buckle u she has a perfect waist. The h woman does not wish to draw a tion to her defects. The American woman. imag- ines that something striking will hide the defects, when in reality it serves == SHIR 7S rather to emphasize them. She never does her housework. however humble £ her position, without wearing loose, & ’?) dogskin gloves, and, while her mani- cure bills are smaller than American woman, she secures better results’ because she does not ask the manicurist to undo the mischief wrought by her own carelessness. The result is a perfectly groomed figure, her corset she puts on her hat, 80 a8 i} very good line emphasized and not to raise her skirt at the waist line oyery bad point softened—a trick or disarrange the set of her bodice by which the American woman should hose of the Katherine Momnton_ WAFS. the raising her hands to her hat. Then one study industriously. woman is by one she steps into her skirts and (Copyright, 1503, by T. C. MeClure) s jous than an. She e e S O ng. She con- or S azZi1es eopie less to the o, > rs of beauty 1 Yet when s N these days of push and emergy Kki” or “sons of God. They are ila e iljes forth on it sounds stragge to talk of peo- priests and practice celibacy. hopping, calling or ple as being lazy, and still the the priests tend to the e Ehbtor DiEUES Todas, a hill tribe of Indla, are householder owns his cattle. s the eliect oL the lazlest people in the world. The building of bamboo huts dces The Todas are not ashamed of their not interest them any more thaa %e reputation and are free to confess that cultivating of the soil, and they make they know of nothing so foolish and their task easy by making the boys stupid as work. Their one and only cut the bamboo and their wives build pursuit is the raising of buffaloes; they the huts. It is not unusual for thre: are far too indolent to follow the chase. families to share one abode. The men An ax is their only weapon, although are often so lazy that they ecannot ng better groom- than her more ssy American to self-study igta gt it they know how to make others. They afford one wife alone, but even this “the. Fronth ok “Dloteh, for this she calls in the beautyjuse this for waging war and for fell- does not worry them; two or thres aho Gahsiders £ SeALIIF S8 doctor’s art. ing trees. They will not till the land, Drothers managing to support one wife. considering this unnecessary labor. To Indolent and slothful, they sit listiess make housekeeping easfer, all their for hours, unconcerned about things, natural products are held in common; ‘WAt they know they know well; they the idea of property Is only restricted are Intelligent within certain narrow to the hut, its contents and live stock. }Imits, but they are too lazy to increase Much as these men dislike the caring their store of knowledge. Whatever for their cattle they find farming a less 1as to be done must be cared for by dignified calling. Some years ago they [N¢ Women and children. went to war with their neighbors, the mi'n'.‘.‘l‘fl'.‘ :-n::: 2:::::“::;;?:::.:‘: Badaga and Kotas, so they might De tic. They are tall and well propor- able to leyy a tax of one-eighth of their tioned. They look like Roman senators grain products. When their grain as they walk, wrapped In skins re- grows scarce they live on roots and Sembling the ancient toga. Their ap- berries. They will sell thelr land or Pearance is not only prepossessing, but _ beld and self-reliant. Elve 1t away, but they will mot cultl- “ypny op amusing story is told of this vate it at any price. small hill tribe, numbering about 400 The buffaloes, which they own in men. An American missionary was large quantities, furnish them with working among them, when one day he skins for clothing and the hut, and the Saw some women and boys building meat Is used as food. But milk is their & hut of bamboo. He inquired why the men were not performing this labor. principal dlet. They do not even relish aud eie women explained: “Husband the idea of milking their cattle; the e agon't S Rk . eae Sad head milkers are the only ones that are house.” No French woman would go into a ' ballroom, as so many forthright Amer- fcan girls do, with chapped skin, a fever blister, a pimple in the little de- pression at the corner of her nose or on her chin. She cures these things with unguents and astringents, and presents at least a smooth surface. If - her mole is a beauty spot she makes the most of it: if it isn't she banishes it, cost what it may in pain. Bhe makes this minute examination of her skin every day, and thus while few French women have the dazzling color of the English woman or even the flower-like prettiness of the American, they have at least skin without blem- ishes, or only such blemishes as have piquancy. J Of highest importance is this study of the complexion. Satisfled as to the smoothness of her skin, the French woman turns next to its color. This it is that gives the keynote to her costuming. Bhe doesn’t wear colors merely be- cause she llkes them. Here's where stock of good points e her, study shop windows ething” when —or %o appear to he clever woman and sometimes in- thing - ke herself in her dressing-room dvisedly, for your clever preserves the mystery of d takes good care not to away when she has to com- h nature to produce the i)- beauty. She locks herself into g-room then, and with the aid Il length triple or double mir- and her double hand mirror that is one side & magnifying mirror that her faults to her as frankly as a mber of your own family or your dear- friend whose beaux you capture, takes stock he studles with greatest care—and she shows real fortitude and power offto be persuaded to do this labor. These The missionary made no further com- out vanity, if she’s a really clever ' 3 - restraint—and art. men are chosen from the class of “pei- ment.