The Stourbridge Observer, Cradley Heath, Halesowen & District Chronicle.
Stourbridge, West Midlands, England, 1885-01-31 00:00:00

GOSSIP ON DEES&

IN writing of a Parisian winter wedding a corres-
pondent says: The toilettes, of course, were winterly
the bonnets along exhibiting a foretaste cf spring in
the shape of sheafs of exquisite blossoms—violets and
pansies in tinted velvet, marsh marigolds—soft and
golden—fox-glove shaded from palest green to faint
pink, primulas white and mauve, blue lobelia—very
well imitated—and still paler blue forget-me-not,
apparently growing from out of a cluster of watercress
leaves.

Tuts homely plant now makes its first appearance
in the capacity of a millinery decoration, though it
has played many humble parts in its t:me. This
upper stratum of fresh flowers and green salad,
bright-hued ribbons and ruffled lace, form a curious
contrast to the handsome velvets, rich furs, deep-
toned woollens of the gowns themselves. Amongst
the latter were several cloth dresses made with two
skirts—the upper one cut longer than the other—
edged with fur and caught up with gold or cut-steel
buckles zarelessly on both sides, not drawn back, but
fuller at the bottom, where the edging gave it a cer-
tain stiffness. There was russet cloth with sable,
and dark brown with otter. Quite simply-made
Rkirts of very handsome brocade seemed in high
favour, the upper draperies being of soft corded silk
or cashmere.

Tun hunting Duchesse d'Uzer wore a Louis XVI.
coat in grey satin brocade, faced with darker grey
velvet, and a skirt to match; her daughter had a
co4ume in Havannah brown velvet; and Madame de
Montgommery appeared in blue velvet striped with
two shades, and trimmed with chinchilla fur. We
are told that the Duchesse de Chartres combined suc-
cessfully the Oriental with the Louis XV. styles at a
dinner given by the Duchesse de Galliera, when the
latter wore a golden-brown satin brocaded with a
Ragusa point-lace pattern in silver grey. That is to
say, the Princess' coat, cut in the Louis XV. pattern,
was made of Oriental cloth of gold brocaded with
pink, the train being of turquoise blue.

WE are growing electic, and having rung the
clianges on our own hietprical combinations until we
are tired, manage to get more varied effects by bor-
rowing tissues from the Far East, and using them up
in the reproductions of Pompadour or Renaissance
dresses. A robe d'aztdience made for the Archduchess
Stephanie, was in the style of Henri 11., and the
material bronze-green Genoa velvet, woven with a
little gold at intervals, and an Oriental gold-woven
fabric into which pink and green were softly blended.
A. high waistcoat buttoned down the front, a scarf
fol,led in four deep pleats from hip to hip, panels
framing in the back draperies, a single front breadth
mounted on a foundation skirt, and the gauntlet
cuffs were of the Japanese brocade, while the
pleated side breadths, the bodice cut down in
fri-mt so as to show the vest, with the half-long
sleeves, the draped back breadths and fan-shaped
train were in Genoa velvet. Green and gold
cords fell in festoons across the pleated side breadths,
and were secured by handsome knots of gimp, of
which there were others on the bodice to fasten the
high collar and to secure the loose fronts upon the
waistcoats. An important point not to be omitted,
the fan train was attached by means of hooks beneath
the upper draperies, forming a round skirt to which
it was but an adjunct.

A MAGNIFICENT Court ball dress, consists of a train
of white satin and silver brocade, edged with white
Marabout feather trimming—among which are inserted
silver butterflies- and a slip covered with ox-eyed
daisies in white satin, and accompanied by a dainty
little Louis XT. toilette—palest pink satin draped
with net worked with daisies—doubtless an Archducal
favourite—and draped with leaves of a somewhat
deeper shade of pink brocaded with gold.

THE bodices of such transparent materials—for
small parties, not balls—are now always made high,
the lining being either quite low or high on the
shoulders, and cut sharply down in points both back
and front, and withre sleeves. In the case of trans-
parent black, the lace and jet-worked net is often
lined throughout with poudre de riz tulle, which im-
proves the complexion of the arms and shoulders
wonderfully. Girls whose arms are somewhat too
healthy in colour must make a note of thia. White
tulle would be most suitable in their case, whereas
the somewhat bloodless Parisian chooses blush-rose
pink tulle.

SQUATIE bodices, and bodices cut en cur, are also
made high by the addition of a transparent drapery,
gathered round the throat to the Sarah Bernhardt
collarette, or the round necklet of velvet to which the
Princess of Wales has given her name, and much
favoured of late. When a bunch of flowers is added
to the bodice, it is placed on the left side of this
drapery—high up, near the throat. A decided pre-
ference for a cascade of ribbon bows over artificial
blossoms, is, however, manifest, both for this purpose
and for the adornment of skirts. The flowers or bows
are placed on the left side near the waist, With a
trailing garland or long streamers hanging below.

MARRIED ladies who have dinner parties as well as
dances in perspective, and do act desire to multiply
the number of their new gowns, will do well to have
one or two of them made with adaptable trains like
that of the Archduchess. This square yard of pleats,
ruchings, and frou-frou transforms the short skirt into
a majestic robe suitable for ceremonious occasions.
Most of the new trousBeaux made lately include one
at least. The toilette for the soirée or matinte de con-
trat must be long and flowing, but its roseate pretti-
ness (it is almost invariably pink, and pink is one of
the most fashionable colours now) recommends it for
dances later on in the season; and the short costume
—which the bride must wear when the civil knot is
tied—will, with an additional train, serve for paying
wedding visits at the conclusion of the honeymoon.