and express a ruffled mood, if she would? Which only serves to prove that even the definition of words alter with fashion, for we imag

tuny in question, son of the great Spanish painter, devotes his time to the designing of the most artistic and unique tea gowns offered to modern woman. We first saw his work in 1910 at his Paris atelier. His gowns, then popular with French women, were made in Venice, where M. Fortuny was at that time employing some five hundred women to carry out his ideas as to the dyeing of thin silks, the making and colouring of beads used as garniture, and the stenciling of designs in gold, silver or colour. The lines are Grecian and a woman in her Fortuny tea gown suggests a Tanagra figure, whether she goes in for the finely pleated sort, kept tightly twisted and coiled when not in

whatever your figure is, if you are not a young girl it will be improved by the long line, and if you would be decorative above everything, we insist that a long chain or string of less intrinsic value is preferable to one of meaningless length and priceless worth. Very young girls look best in short necklaces; women whose throats are getting lined should take to jeweled dog-collars, in addition to their strings of pearls or diamond chains. The woman with firm throat and perfe

. She was past-mistress at the art of making herself decorative, and the writer recalls her as she last saw her in a Doucet model of

e meant letting nature have its way. It has come to mean, nature directed and controlled by Art, and while we do not resort to the artificiality (in this moment) of hoops, crinoline, pyramids of false hair, monstrous hea

age of powder and patches, hair oil and wigs, no more time nor greater care was given to her groo