Beauty may Choose.

Otago Witness, Issue 3111, 29 October 1913, Page 65

Beauty may Choose.

CAREFULLY SELECTED BEAUTY. HINTS FROM THE WORLD’S BEST BEAUTY WRITERS. Effectually Killing Superfluous Hair. “ Health and Beauty.” Many women know how to remove ugly growths of superfluous hair temporarily, but few know how to remove it permanently. For this purpose pure powdered pheminol may be used. Get about an ounce from your chemist and apply a little directly to the objectionable hair. The purpose of the recommended treatment is not merely to remove the superfluous hair instantly, but aJso to kill tlie hair roots completely in a comparatively short time. * * * Women who are annoyed by body or perspiration odours will appreciate the hint that a light dusting with powdered (white) pergol occasionally is an instantaneous corrective. * * * For oily complexions smart women are now using the natural allacate of orange blossoms as a greaseless cream. It holds powder perfectly, gives the face a cool, fresh appearance rvliich lasts, and it does not encourage growth of hair on the face. 5 Emergency Complexions. “ Novel Recipes.” Even a complexion which is hopelessly dull or greasy can be made beautiful in a> moment by a perfectly harmless home recipe. If you have no cleminite in the house, get about an ounce from your chemist, and add only enough water to dissolve it. Apply a little to the face with the finger tips. The process defies detection, and the result is an immediate appearance of velvety, youthful “ bloom " which every woman desires. The effect will last all day under the most frying conditions, indoors or out, and renders powdering quite unnecessary. This simple substance is also very good for the skin, and no possible harm can come from iU regular use. * * * To make the eyelashes grow long, dark, and curling, apply a little numnaline with the finger tips occasionally. It is absolutely harmless, and beautifies the eyebrows as well. * * * Pilenta soap is the most satisfactory for all complexions. It even works well ha cold or hard water. Using Oxygen for the Complexion. ‘‘Chemistry at Home.” The well-known characteristics of oxygen may be effectively applied to the renovation of the complexion. Mercolized wax, such as may be found at any chemists, contains oxygen which is released directly the wax comes in contact with the skin. Oxygen consumes waste matter in the body, but does not affect healthy tissues at all. Therefore, it attacks and removes the deadened waste accumulations on the skin which show in the disfiguring form of sallownoss, moth patches, and a general appearance of lifafessness. The fresh young skin which -haa been obscured by this disfiguring veil of waste matter is thus allowed to show forth in all its healthy beauty. The mercolized wax is absolutely harmless and Indeed very beneficial to the skin. * * *. To bring a natural Ted colour to the lips, rub them with a soft stick of prolactum. * * * For tired, hot, or perspiring feet use a teaspoonful of powdered onalite in a foot bath. How to have Thick and Pretty Hair. “ Home Talents.” Soaps and artificial shampoos ruin many beautiful heads of hair. Few people know that a teaspoonful of good stallax dissolved in a cup of hot water has a natural affinity for tho hair and makes the most delightful shampoo imaginable. It leaves the hair brilliant, soft, and wavy, cleanses the scalp completely and greatly stimulates the hair growth. The only drawback us that stallax seems rather expensive. It comes to the chemist only in sealed packages, which retail at half a crown. However, r.s this is sufficient for twenty five or thirty shampoos, it really works out very cheaply in the end. * * * For an actual hair grower nothing equals pure horanium. It is guite harmless, and sets the hair roots tingling with new life. * * * Tho use of rouge is almost always obvious, but powdered colliandum gives a perfectly natural colour and defies detection.

with the slightest “ material ” crown, but with a good deal of filmy extension which softens its outline. A crownless hat of ccriso malinc and black paradise has an aocordion-liko frill all round the brim, save for front, where it dwarfs. A remarkable hat is the one with a necklace created in black malinc and paradise. A row of pearls goes over the front, catches, and festoons to front neck, the two stands meeting in a brooch. The illustration gives a fair idea —so far as pen and ink allows —of an X-ray hat by a noted French designer. It is a turned-up small toque of cerise-coloured straw, trimmed with high, upstanding pleats, of grey tulle, with double grey aigrette at back in a tulle surround. This aigrette is only indicated, but you can easily carry it out in your “mind’s eye.” Such is a very modified expression of the real X-ray, but it will suffice to show one way of utilising the idea, the crown, which

shows through in the original, half-hidden, half-revealed, being indicated by the dotted line. Hats and sunshades! You are bound to have a hat with a lightning conductor stylo cf trimming. I: this is high, how are you {r'MTtnr tn I'oi-t vc-ur parasol? The rigidly erect and tall arrangement of aigrettes or .... ,v, r.s, or ribbon must not bo disturbed. The “tail mount” parasol is an ingenious novelty. Like most good things, it is simple. It is essentially for the highmount hat, and would be absurd with any othrs. Thus for snecialy smart functions upward slope when it is open, and curves as though to “ dome ” in the othordox way. However, the rib changes its mind, and so, having curved over to a fair distance, it turns, and forms a super-dome, and it is this—small that covers the upstanding aigrette without damaging it by contact. The whole thing is managed by a clever variation of the shaping and placing of the ribs. Apropos sunshades generally, a Paris note reads: “While hats have changed the shape of some sunshades, the fabric fashions in drosses have had just as potent and decorative an influence on others. Tims for specially smart functions and frocks there are sunshades made in cloth of silver and gold, with boldly and beautifully brocaded designs in shimmering satin.”

Pearls are the jewels par excellence. One authority has it that they are the only kind that can be worn in the street. After pearls, opals! London advises hat the opal is coming into fashion again and next season will rule. There las always been a superstitious prejudice against opals, but the now fashion of long necklaces of uncut opals has proved too much for the women to resist, and the jewellers of Bond street and the Rue do la Paix are hard put to it to get sufficient stock. Wo must always look a bit ahead. This,

then, for a summery material is one of the very prettiest styles. There is something peculiarly graceful in the way the panel, which is even above the girdle, comes to a point at the knee, and then opens qut to the full width again' at foot. Somehow or other it suggests a hanging support from the neck for the drapings of the skirt, and I expect that was in the mind of the designer. Everything is very clear—dress and panel in contrast, though slight; low sleeve at shoulder; very pretty collar with that admirable Medici frill; tuoks on shoulder. half tucks in sleeve in series, and slanting cuff. Altogether a dainty dress with the hat to complexion the shades. This Medici frill has proved the alternative to the ruff, but don’t be too sure that the latter will not follow the summer. A modified ruff wag launched the other side of the world for last winter, but it was too sudden, and fashion rejected it. The style was Elizabethan, but masculine—a small ruff, whereas the feminine was large. Peacock effects have appeared the other side in relation to evening coats and wraps. They arc just as gorgeous as it has been found possible to make them. Other wraps symbolise the pheasant, not the peacock. It is a wrap of simplicity which wraps the wearer in graceful folds, neither hiding nor detracting from the figure. It is very long and narrow in the back but draped towards the front. The short kimono sleeves edged with golden maline, and the neck ruche of same, hall mark it ae a very laTb mode. But why pheasant? Because it is of the golden pheasant tint, embellished with roses and loaves at good intervals. This hat suffers through the size. I couldn’t cut the ribbon, and so to get it in had to dwarf things. Again a first-class Paris designer, and so a hat of ruby tagel straw with bands of garnet, coloured velvet round the crown, same forming bows at back. Observe the way the material is

brought over the front, and that a garland of roses I leaves encircles, ending in a posy at side to back. The brim has the least roll and this scorns to evidence itself, w'hilc the crown is not a true dome as the lino reveals. By way of a millinery endorsement —in some respects, anyhow,—l extract the following from London: “A late novelty is a hat made of crepe; but this is meant a material of the same surface as black crepe. These hats are on sailor lines, and arc trimmed in a groat variety of ways. The colourings are of the brightest, mistletoe berries, wreaths of jet beads or oranges encircle the crown. The favourite colourings are purple, cerise, flame, and white. Then there arc little hats of white crope with crumpled crowns. The mere apology for a brim is a piping of black velvet, and* then the wreath—the salient feature—is usually of small marguerite daisies. Gourah feathers are very fashionable; they wave here, there, and everywhere. Sometimes these gourah mounts take the form of question marks, one side strengthened with soft breast, plu/nago. Nunidy is another very decorative form of trimming, and there is a decided tendency for glazed straw hats for morning wear, an upstanding loop of straw on the left side completing the scheme.” Tulle is big'll in favour. In evening dresses it forms little sleeves. Thus a pretty gercnium-colourcd crepe dress has a corselet of cross stitch blue embroidery, while the sleeves and upper portion of the corsage are of blue tulle. A good idea is to have a deep ruche of tulle on evening cloaks, or, again, tulle springs from the dccollctage at the back of an evening dross, floating away in graceful lines to the hem

of the skirt. 'lt is then turned over, carried round to the front, and tucked into the waistband. Also the cointuro is often of tulle. The frill is in immense evidence. You can hardlv overdo it. It is almost like the lady of the poem— c ‘with rings on her fingers and bells on her toes.” As already said, the frill has invaded millinery with the certainty of becoming a more, emphatic note.

I am persuaded to repeat a coat. As it appeared rather early it did not express the style so clearly as just now. This is the kind of garment that must be cut by a professional hand. As I think you will agree, it is an exceedingly elegant design, but—observe—it may bo the real thing or so by simulation. The collar is of marked value, and the gathering for the waist is a dressy feature. On a fairly slim figure the lines would appear to great advantage. At the same time as the effect is long it is open to alteration in that respect. This, after all, is a matter of opinion, to be decided by circumstances. With respect to accessories! * Foremost, perhaps, is neckwear. There are odd, new malino ruchings and cuffs of faintieet aspect, set upon velvet bands, narrow ruche at one edge, other much wider, both double, outer frill black, inner white. Then dainty affairs of el widow lace—standing collar and gathered or pleated lace chemisette, with tiny soft bow at throat. The side frill appears in new forms, sometimes attached to collar and yoke, embreidored; sometimes a kind of single rover, also embroidered. Ornaments also at the neck are in great variety. There are bows of coloured satin in butterfly form, softly veiled with gold cloth; lavallieres of the baser metals; and quaint berthas fashioned of shadow laco and fringe. Handbags also ! One of the novelties is a kind of vanity, a neat leather case with tiny brass fittings. Also a linen bag of novel outline, blue, with darker blue stencilling. A changeable gold-shot bag is a reproduction of the rinar purses that used to be carried in the Middle Ages.

THE EASH lON IN LONDON.

(From Our Own Correspondent.) September 12.

Each season is remarkable lor some particular detail or idea of fashion, and it is only following the natural sequence of events that the autumn of 1913, a year which has made history in the annals of feminine attire, should add its own distinctive feature. A close observance of the autumn models, with an eye for the presence of entirely novel details, has left me with one or two clearly-defined impressions. All the latest models show a hem which turns up in exactly a similar manner to the way in which a man wears his trousers turned up. It seems as if we must always find inspiration from masculine attire! it can bo readily imagined how novel and quaint this ide'a may be, and what a really original note it strikes. The hem, as I have seen it, lias always been quite narrow, and in the same material as the gown itself, no note of contrast being struck. This is decidedly in bettor taste whore a coat and skirt is concerned, but the “cuff” skirt forecasts infinite possibilities of contrast where the afternoon or evening gown is concerned. In the latter, wider realm of fashion, a more picturesque and less masculine form of the turned-up hem is permissible, and, indeed, it were strange if even the most thoughtless woman did not find here ample scope for her imagination. The “cuff” is not, of course, a feature of the skirt alone, and it is also to be seen at -the hem of a coat or tunic. But in the latter instance it is not nearly so novel, as wo long ago grow familiar with the “fish-wife” tunic, which, though wider, hears a strong resemblance t<J the “turnedup” hem.

The simple little house-gown often presents a difficulty to the woman of limited income. Blie has the keen desire to appear “smart,” but she may not indulge in expensive materials or extravagant designs. Our sketch this week represents a charming idea, which is full of possibilities to the woman of small means, and is equally adaptive of expression, in the most costly materials. It reveals a simple little Russian tunic, composed of one of the new plaid materials, cither cashmere or silk. The fascinating little revers are made of white cloth or ‘peau-de-soie.” of which material also the skirt is made. The latter is delightfully attractive in its simple wrap-over style, with one side slightly draped to give “that “cachet” of fashion so coveted by the dress loving woman.