Savannah morning news. [volume] (Savannah) 1868-1887, 1886-10-02

ton crepe, with the gold lines matching
tbe chemlsc,te, aud panel " idening to
one side to match.
Panels are no longer OF the same width
all the way down; nor are draperies alike
on both sides or the same on either side OF
the panels. Sometimes they show their
greatest depth at the centre Of the front
and back, both sides being lifted high;
but the front rounding and one side of the
PACK falling square; or one side OF the
'front.' will fall i'll straight folds; and its
opposite, forming one side of the back,
display q curtain drapery, which bangs
half in folds, half caught by cords which
unite the parts of the skirt over the inter-
Veniug space.
OF course the early exhibition OF IA
brlcs and styles are always more or less
mixed and uncertain. They are at once
the choice and the residuum OF the pre-
Vlous season; the --latest" and the lett
overs beng al that the manufacturers
nave to guide them in producing ad-
vanced modes. The true novelties, those
which become exact fashion, do not make
their appearance till later, unless some
one has the genius to produce an original
IDEA which strikes the fancy of the ma
Jorlty, and makes for itself place from
winch 1t cannot be driven.
VITALITY OF GooDIDEAs.
The one encouraging sign in regard to
the dress OF women is this, that a good
thing, good fabric, a good design or USE
ful idea IN connection with design, can
not be gotten rid Of. 1t sticks. 1t reap
pears. 1t comes back i'll other and I'M
proved forms, until it is accepted as an
Integral part Of dress economy. This WAS
the case with the short walking dress. the
tailor cut dress, the tailor made jacket,
the jersey, the polonaise, the ulster and
other elements now considered essential.
and subject only to trif1ing notifications
and changes, not actua oblivion.
1t should also be remembered that no
revolutionary ideas have ever succeeded
in creating reform" in dress. If there
is good idea In reform movement il is
gradually taken np and incorporated into
the general mechanism OF clothing; but
1t never succeeds in inducing the ma ori-
~ to wear uniform, or think alike 10 re-
gard to what they shall wear. it is a
rather curious fact that women VINO
represent advanced women's movements
do not now endeavor to dlfferentiate
themselves from the representative cir
Giles of the we'll dressed, according to the
fashionable code. On the contrary, there
is nothing that pleases them more than to
have it stated that their gatherings pre-
sent the temperance of a f shtonable
assemblage. This is not to be put down
as weakness, or an absence Of principle,
but the fine growth of a truer sense and
taste, and the near approach to fraternity,
in what are ignorantly supposed to be OPP
posing forces. AS fashion gains In intel
ligent appreciation OF principle, order
and law, principle and law will gain in
refinement and perception; and from
such conditions we may expect both
obedience and liberation, uniformity and
individuality in dress, as in other things.
The religion of hardness, of asceticism,
of condemnation, is becoming a thing of
the past for women as we'll as for men. 1t
was cruel code, and its natural re-
bound was lOoseness of moral tone, ex-
travagance and love OF luxury. The sim
plest dressing is found often among those
who have unlimited means, or have had
the opportunity of dressing well all their
lives; while the most snowy and barbaric
modes appeal directly TO uncultiyated or
depressed tastes suddenly endowed with
the means of qualification.
The stage has it in its power TO become
an educational influence In the dress di-
rection, and indirectly performs already
small part of this function. Oddly
enough, one of its uses Is to discourage
eXtravagant dressing among the eXclu-
sive class of women. What is the use OF
trying to shine in conventional costumes
of satin and lace, when the leading lady
in "rhe Little Tycoon" will beat you all
to pieces at your own game. She was the
errand girl Of a milliner perhaps, but she
is star now in her ornament and
furnishes her own wardrobe, which is not
in the least Japanese, but French from
the crown OF her frIZzy, jewelied head to
the tips of her hIgh-heeled, satin shoes.
Those of as fine dresses as were ever
seen were worn recently by little girl
"on the road" They were inappropriate;
but what of that? She was pretty and
pleased her audience. One was cream
wool, with brown and gold embroidery.
Large cream hat with brown feathers.
Wide, soft, silk sash tied at side in large
bow. The second dress was Of shrimp
pink satin, tucked and paneled with
pearls and draped with real AlencOn lace,
above which was a low bodice, nip
drap ry and pouf Of pink brOcade. The
bodice was sleeveless, but displayed a
group of pink ostrich feathers fastened
with diamond stars upon the shoulders.
The third was of ivory satin with low,
sleeveless cOrsage and draped trimming OF
gauze, dotted with tiny stars; en-
broidered, not tinselled, sash of watered
silk and magnificent fan OF curled,
whole ostrich feathers. These costumes
cost from $3.50 to $500 each, and were as
good as could be, from the French dress
making point of view.
IL follows that something else must be
done by those who want to distinguish
them selves from the stars OF the Tycoon
type; and some take refuge in simplicity
and some in 'picture" gowns or artistic
forms of advancement.
HISTORIC COSTUMES.
An influence OF another Kind Is derived
from the few-very tew-theatres where
schemes of color are worked out in ac-
cOrdance with the period and events rep
resented, and the costumes are made to
harmonic with these and each other.
The "Lyceum" IN London and the "Madi-
son Square" In New York are The best
examples OF this kind OF effort; and much
of the charm of the detail which charac-
terizes their performances is due TO these
subtle but potent ements of fitness and
harmony. The historic influence was
never letter exemplified than by the cos
TUNES of Miss Geneyieve Ward and her
company IN the "Qheen's FavOrite." The
costumes of Queen Anne Miss Ger
trude Kellogg are designed from tie pic
ture in the London National Gallery;
and the magnificent plum-colored brOcade
tram and bodice, with its brill amt red
satin front, hrocaded in gold and trimmed
with red aud' gold, reproduces the gorge
Gus cOloring of the period. The second