Evening star. [volume] (Washington, D.C.) 1854-1972, 1883-10-06

twenty-five 10 thirty suggest the absence OF tina
necessary sixth sense which it is the business Of
social culture to impart to It's willing subjects
others Display shot silk or light figured fabrics
trimmed with broad cuffs collars, revers, or dee,
ruffles (and plenty of them) in trimming lace
The effect is Kaleidoscope without the addition
OF the cousins, whose attire is usually monde
script or else spick-and-span new, inst takel
from the forms in the warerooms and transferred
TO the bodies OF the wearers, who at least fee
that they have made themselves equal to tn,
occasion.
THE PULLING NOMENCLATURE
is one of the nnsances of shopping, and Is fas
growing into an evil that should be checked
rather than encouraged. There is no such thins
now as establishing a reputation for any partic
ular style or class of goods, for though the ma
terial and method Of manufacture may remain
the same the nomenclature is changed ever,
season in order to satisfy the supposed demand
for novelty: For example, the heavy reps have
become ''bison cloth; thelottomans. "musco
vite;' the chene silks. "onyx:" and the broken
check. the duplex" The smooth small checks
Dy the way, dark green with wine color. DARK
Drown with dark peacock green, dark blue will
garnet, and cinnamon red with shades of ole
goid are very pretty over plain or killed velve
teen skirts; or may be combined with the dark
shade of the check in solid color either in cloth
or winter surah. 1t Is sometimes provoking
sometimes agreeable. to recognize an old friend
or acquaintance under a new high sounding
name; but If it had not fallen to him with an
estate or means to sustain it's dignity we should
De apt to suspect the existence OF question
able motive for reljnquishing the old one
Ladies' who send to a distance for their mate
rails and costumes must be subject to many OF
these surprises.
THE Opening" HATS AND BONNETs.
"What are the leading styles?" is the stereo-
typed question addressed to the attendants at
the gorgeous millinery openings who are, how
ever, themselves anything but gorgeous-pale,
young, or stout, middle-aged women usually.
dressed in black, which serves as the best foil
for the mixture of color by which they are sur
rounded and Except grey) is the only hue they
can wear with which all kinds of bOnnets will
agree during the trying on" process to which
they are often subjected. The answer given to
the simple query has become as stereOtyped as
the question itself "Well, everything is worn.
and you can suit your hat to anything you
choose" Looking about it seems as if "every-
thing was worn; OF would be by the time these
creations" had changed hands. But by and
by one begins to see that 1t is as If ones butcher
should make an immense flourish over having
all the meats on the face of the earth to choose
FROM and when you visit his shop expecting to
md something quite new, and see the great
show of joints and cuts, and ribs and steaks and
chops, you feel pang OF something like disap-
pOlntnent at having to fall back after all on the
old beet and mutton for your prece de resistance
This Is precisely what happens at one of these
pdrro an naultune exhibitions: the world seems
all before you in the shape of hats and bOnnets;
but when you get rid of the glamour of the gilt
and filagree novelties. which are nothing more
than a few theatrical effects turned loose, you
nnd the staples are your old friends felt and
velvet the crowns high this season, the brim
straight; or. If it is a bonnet forming a some
what broad high pOke-the "Calash'' shane
modified loB{ Co <ho
of this kind. 1t Is in black or wine-cOlored
velvet with silver cord around the crown
pearls or cord upon the edge of the brim, and
an erroneous plume of soft. white-curled ostrich
feathers which accentuate the size Of the hat
and the height of the crown. The name NAV be
complimentary to the beautiful viscOuntess who
is famous for the size and picturesque style of
her hats The most ladylike poke is of solid
velvet in any shade Of color, black and gray
being the most popular; the brim edged with
gold cord and long scarf of black or white lace
laid plain over the brim and forming long
brides or strings, which are fastened with small
pins OF hammered gold or gilt; but they do not
tarnish. The lace is handsome, white or black
Spanish guipure, and though not costly does
not look cheap. Velvet may be quietly ar
ranged in folds and with a large buckle and no
other trimming needed; but usually q wing and
a group of ostrich tips are added.
COlOred velvet bOnnets look we'll when
trimmed with velvet flowers and leaves beauti-
fully shaded in the color. and finished with lace
or strings. Feather and flowers together are a
mistake, The small capOte and all the old shapes
reappear in bOnnets, the principal difference OBJ
servable is the rise in the crown Of the hats
Plush is used for the pressed" bonnets and
hats; those that come blocked and covered ready
for trimming, and are made and sold like cot
tage furniture. by the hundred dOZen but it is
rarely seen among the special and individual
styles. Old blue, black. or grey velvet bonnets
are sometimes very effectively trimmed with a
group Of feathers. self-colOred. and a scarf of
eastern design, composed of a flexible gold net
work. crossed with silken stripe, narrow, and
In alternating colOrs. But of these there are
not many duplicates. Ottoman ribbons are
much used, and new style OF pompOn forms d
cluster Of spiked leaves made of chenille.
The little girls carry off all the hOnOrs this
season so far as picturesque headgear is con-
cerned. For their benefit the old fashioned Ca
lash has been revived; the large soft crown is
made liz Ottoman satin; the cabriOlet brim is in
velvet, the garniture Is a row of loops of narrow
Ottoman satin ribbon laid diagonally on the vel
vet. and large group Of ostrich feathers set
high against the crown, but curling over the
edge of the brim. These are principally made
In white and strawberry or Indian red.
SLEEVES
This distinguishing feature Of the dress deserves
a separate paragraph, for the reason that it pre-
sents perhapsth the most distinctively novel ideas,
and marks the difference between the new and
the old, the fashionable and the questionable,
the artistic and the commonplace than
any other part fthe costume; and this is true of
clOaks and outside garments as we'll as mere
gowns" Two years ago French dress-makers
dealt most contemptuOusly with the full sleeve
1t was an English asthetic invention. and would
never be accepted" Ladies who had brought
home dresses with these obnoxious appendages
had them taken out and replaced, it was said
with the usual sheath like combinations. But
the French dress-makers Oyerthe water seem to
have accepted the situation and emphasized it.
1t has been stated many times in these letters
that the sleeve is Of the greatest Importance in
giving grace and distinction to a handsome
dress-tO the general ensemble of the figure
This can be seen by any one who will
take the trouble to study historical
and antique costume, and 1t is one of the secrets
of all women who have been successful in the
art of dress. The ''coat" sleeves began its
latest career about thirty-fiye years ago, and
has maintained its ascendency. with slight ir-
ruptiOns, in favor of pulled and flowing and
'angef' sleeves ever since. 1t is useful but
and if we'll shaped, and room
enough allowed over the elbow, and at the top
of the arm for free movement excellent for the
street and evening wear. But 1t is not pictur-
esque and not distinctive; 1t acquires a certain
amount of ''style'' Of rigid and severe kind by
being mounted high on the shoulder; but it is
never made distinctive or picturesque or capa-
BILE Of much variation until fullnessin some way
has been impaired to it. This is one of the rea-
for irtp AI,,a$ of%H no Loo ~,