A beautiful scarf is one made of turquoise blue satin embroidered entirely in blue beads, gold beads and various green beads for the leaves. A design of clematis is effective if -the flowers are stamped on to the satin. Thread about five blue beads at a time on to the needle, and closely follow the outline of the flower. The centres are embroidered thickly with dull gold beads. The beads when used in this manner are threaded one by one, and stitched one by one into the desired position. The leaves are outlined in soft green beads in exactly the same manner as the outline of the flowers, threading about five beads on the needle and securing these firmly down. The needle is drawn up again in the exact spot where the last bead rests, and five more beads are slipped on to the needle, so that a uniform design of line bead work is maintained.
If more elaborate work is desired, the centres of the flowers may be entirely filled up with beads in deep turquoise shades; or, as a foil to the scintillating beads, French knots worked thickly in mallard floss look well.
Another equally effective idea for a scarf is to embroider wild roses on a pale rose satin background. The flowers are outlined in soft shades of pink in chain stitch. The centres of the flowers are embroidered in dull beads, using shades of pink. The centres of the flowers have one large dull gold porcelain bead, and the stems are outlined in the stem stitch. If desired, the leaves can be embroidered entirely in soft shades of green, or still more effective would be an embroidery of dull green beads. This scarf, when completed, should be lined with soft ivory satin, and finished off with long rose-coloured silk tassels.
A conventional trailing design of beads looks well carried out in gold or silver. For silver there is no background more beautiful than that of black or white. The beads may be large, porcelain for preference. The large dull beads could form stars, or a flower-like appearance might be given by manipulating the beads to form a floral design. The trailing stems should be worked in lines of beads, small and brilliant.
The idea of gold bead embroidery can be carried out in exactly the same manner. Some may prefer the bright, scintillating cut gold beads for this purpose, but the dull gold bead has a charm and refinement which does not easily find a rival. These scarfs, carried out in gold or silver beads, may be lined with any shade of satin to suit the requirements of the wearer. A very beautiful scarf may be made by outlining the entire design in small pearl beads. Crystal beads are also very fairy-like and charming for this form of embroidery;
By The Hon. Mrs. Fitzroy Stewart
Smartness is not a Matter of £ s. d. but of Taste - Where the Frenchwoman Excels - What
America Teaches England
Dowdiness is a disease, and lack of money is by no means the cause of it. It has its chief seat in the head (inside and outside), also in the neck and waist, and perhaps most of all in the carriage and bearing. A neat woman can be dowdy, but a smart one never. A mistaken humility goes far to create dowdiness, and the most desperate "dowd" is she who thinks herself "a woman of no importance."
Dowdiness is a Disease
Dowdiness is inborn, but also acquired, and the latter form is the most difficult to eradicate. Two examples I have known may be cited. One a woman who is at once poor and smart, makes her own gowns or buys them ready made, trims her own hats, and economises in every part of her costume. Yet she is never dowdy. And why ? Because she knows what suits her, and how to put on her things to the best advantage. Another woman, both richer and prettier, is a martyr to the disease. Her well-cut gown is shabby, her hair untidy, her gloves and shoes neither fresh nor well-fitting. She will wear brown boots with a black dress, and a necklace of coins with a Parisian toilette. And - worst of all - she has been seen in'an Ascot frock in an omnibus.
Comparisons are useful, not odious, and it is only fair to admit that dowdies are rare in France and in America. And this, not only because their women spend more on dress than do our own people, but on account of certain qualities they possess which make for good in matters of personal adornment. These include neatness and a certain daintiness, an eye for form and colour, and a sure sense of proportion.
The Frenchwoman is, above all things, chic. She pays heed to every detail, has a subtle charm hard to define, and possesses to a high degree the art of making the best of herself. Her natural advantages of form, feature, and colouring are, as a rule, far below those of her English rival. But she carries herself with alert grace, she emphasises her best points, and by the means of well-cut (but not tightly-laced) stays obtains the figure to which she aspires. Even if her face is plain, nay, ugly, she refuses to allow this fact to. depress her. By some clever arts of coiffure she intensifies "herself, and in some mystic way attains a weird fascination.
The Frenchwoman obtains more for her money than the Englishwoman. Thrift to her is second nature. M. Jean Worth, the famous costumier, tells us in his memoirs how the best dressed lady he knew only ordered one dress at a time, but then it was a triumph of art and of costly simplicity. "Few and good " is a motto that tells against dowdiness.
Then no Parisian, however poor, dresses, as many of us do, in reach-me-downs and cheap, ready-made garments. She demands cut and fit, and sees that she gets them, from that useful person, her " little " dressmaker. Her hats are made to order, also her boots, now and then her gloves, and, above all, her perfect corsets. But here in London one often sees a smart hat worn with boots down at the heel; or a good gown over a shabby petticoat.
In a word, Frenchwomen love detail, and dress with due regard to their age and their position.
With regard to Americans there is a popular fallacy that nothing seems able to dispel. This is that they are all rich, and that their women spend thousands a year each on dress and personal decoration. But even in Europe there are some poor Americans, and in America there are many.
Other reasons, therefore, must be found to explain why an American woman is never a dowdy, and why she achieves a better result on a smaller outlay than do many of our own compatriots. One of these is that she is less conventional. She chooses first what suits her, and, after that, what is fashionable. She has a great sense of the eternal fitness of things, and refuses to wear an afternoon fiock in the morning, or a decollete gown with a lace yoke - obviously sewn in for the moment - on some daylight occasion.
She will not go to a garden-party or attend Henley Regatta in an evening frock, doctored up for the day with a neck and sleeves of net, tulle, or chiffon. Instead, she would wear for the former a smart summer gown, and for the latter a white linen or a blue serge, with a simple straw hat, and square-toed walking-shoes. Not only must her clothes suit herself, but they must be suitable to the occasion, to her position, and also to her environment.
Madame America never allows herself to be hurried. She avoids sales, and the money is seldom witched out of her pocket by some cheap but slightly soiled or out-of-date article. At certain seasons of the year she sits down to calculate her income and the outfit that she will require. And, like the Frenchwoman, she chooses her materials with care and forethought. They must not only look well but wear well, and she selects according to her age and position.