The Abbeville press and banner. [volume] (Abbeville, S.C.) 1869-1924, 1885-12-02

The design from the ancient Crock, it will
be seen, is a modification and combination OF
the other two, with features Of its own that
are different from either. The foundation
dress is very much the same as in Mrs. Pffei-
fer's Greek gown, except that being made in
print, and for ordinary use the sleeves are cut
to the wrist. The overdress is followed e
little ut the neck, front and back. but other
wise gathered in at the waist (only with more
f~ullness) exactly like the Cashmere Cos.
tume"- excepting that the drapery is lifted
somewhat to the right of the opening and
held by the clasp at the belt. The body part
is also cut iE more TO tho arm, -he sleeves
being less full and requiring less space. The
material Of the overdress is what is known in
naturally crinkled or creepy surface, irregu.
la-ly ridged and falling in very close and
graceful folds. 1t was used by Miss Ander-
sch for her Galatea dress, designed by q Lon
dor artist, and proved more amenable to
artistic requirements than the China crepe at
| $40 per yard which she had previously en-
ployed. The skirt of the undertakes may be
gathered or pleated, understand plented not
plaited,) for plat was formerly only used in
the sense of 6raiding or weaving together,
and is not properly applied to straight folds;
but gathering is more suitable for figured
prints, such as that Of which this skirt is
made. as it does not conceal any part of the
pattern and is more easily laundried.
These costumes are all what would be called
aesthetic, yet they arc beautiful, graceful,
simple, convenient, and easily adapted to
different uses. They are also, especially the
cashmere costume. so nearly like the modes
Of to-day that, in suitable materials and with
proper treatment, they could be worn Us they
arc, and have been, without exciting unusual
attention. But one of the reasons why this
can be done is because conventional fashion,
while snecring. reviling and ridiculing the
aesthetic idea. has stolen its thunder and in
curporated it. in fragments and without unity,
into its changing and capricious repertoire Of
the modes. 1t has done this in self-defense
and because it was demanded. Ideas arc
scarce in a conventional atmosphere, and the
aesthetics had an idea to begin with-Several
of them-and they addressed themselves to
tho taste and common sense Of thinking. In
telligent women. The e1travagances Of un-
thinking and s~enseless followers who en-
daavor to gain notcriety by exaggeration
all this they could not butdiscover AL adapta-
bility to lovely forms and simple materials.
which was better than mere cost. so long the
test. of taste AMI elegance, and a sincerity
which is an essential element Of morality in
dress as we'll as in the qualities of mind and
heart. Thus, whatever may be said Of it, it
will be found eventually that the so-called
aesthetic element is the truest and most iin-
portant contribution made to tho ethics of
dress in this generation, and the one that will
exercise the most decisive influence upon the
future.
The eagerness with which a new idea is
seized if it comes from an authoritative source
is seen in the effort to utilize this sensation
created by the appearance Of the Princess OF
Wales IN the dress of the graduates upon
whom q degree is conferred at the college OF
music in Dublin. Upon the occasion Of the
visit of her royal highness an honorary de-
gree was conferred upon her and she was
formally invested in the ca and gown, which
proved very becoming, for though no longer
very young and never strikiagly beautiful,
she possesses an interesting and expressive
fare, which retains its charms and even gains
something with increasing age from the exer-
else Of a lovely disposition.