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Show Reason for the Change in the Present Color of Mourning it 1 1 , " ' - $ I' ll f ' '' ' 's- ' It r1 v r S X f - - -v 5 d i , : - ' - Something more than a mere desire for change has brought about the use of white for those in mourning, ft is the expression of a changing at--titude of the mind toward this matter mat-ter of mourning apparel. White is not somber or oppressive to others and therefore will make the most unobtrusive un-obtrusive mourning. For the past three seasons black hats of crape (or other fabrics trimmed with crape) have been duplicated in white, and it is probable that the idea has been well . received because the most authoritative au-thoritative shops continue to show white mourning. . For the summer season veils are made of net bordered with crape. Those for first mourning are large but cool and light, nevertheless. The very large, coarse mesh with wide crape border, either in black or white, can be worn without any inconvenience. incon-venience. It is probable that white crape 'and other mourning fabrics in white will make rapid progress in popular favor now that they are well Introduced. White crape is a very, beautiful fabric and the process of water proofing to which English crape is subjected has made it practical. prac-tical. A turban and veil are pictured here developed in white. The turban is of crepe Georgette with veil of rich net bordered with white English crape. There is no trimming on the turban but the crape border on the veil pinned to the front of the turban and turned back provides a beautiful decoration. Almost a duplicate of this model Is shown in black. These serve ' to demonstrate that it is now simply a matter of choice between black and white mourning. The introduction of crape in the body of the hat or in the veil or trimming is significant . of mourning and makes these models appropriate for first or deep mourning. mourn-ing. Crape is the only fabric everywhere every-where acknowledged as correct for this purpose. JULIA BOTTOMLEY. |