St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1888-02-19


was fitted for this dress standing"
THE PREVALENCE OF BRIGHT COLORS.
And the extensive use that is made of
gold, silver and bead embroidery would
lead to considerable eccentricity and eX-
aggeratiOn were il not that the employ
ment of these fashionable colOrs and
trimmings is so tempered by good taste
that it is almost impossible to discover
anything discOrdant in the new cos
tunes. The question of color is closely
studied, and not simply left to chance or
to the desire to originate some new
combination of hueS never seen before.
Effects of light and shade receive due
consideration, and neutral tinted
down the brilliancy of gold, silver, steel
and copper embroideries. All the more
elaborate models of capOtes and hats
are enriched with metallic ornaments
of some kind, either as embroidery on
the material or as paSSementerie, braid
or embroidered lace trimmings. There
is gold everywhere, bright gold,
furnished gold, gold mingled with
brown, green and red; gold
woven into gauze and lace,
into paSSementerie, and fashioned
into flowers and leaves. All the dressy
chapeauX worn now by the most ele-
giant have little gold in their compost
ton, and so do the spring models. too,
almost without exception; sometimes
discreetly introduced, as in the case of
capotes. with cap borders in gold tulle,
or in the shape of garter ribbons around
the crowns. or bands of gold galloon be-
meath the brims of hats. At recent
wedding failed to discover one single
bonnet worn by the ladies of the we'd
ding party that had not its bit of gold.
Some of the most effective arrangements
of gold are to be found in the new gold
paSSementerie, which is now like en-
broidered applique work, now in the
form of detached foliage or ears of
wheat, used to place round the edge of
close capoteS. The metal is mixed with
color, so as to give it a copper bronze or
green tinge. Silver-wOyen tissues are
also worn, but they are never so effective
or so becoming as gold.
THEY LOOK BEST
With very pale shades of blue or
heliOtrope. The crown is generally of
the silver, and the brim of folded pieces
of velvet. Bows and strings put ON
behind take somewhat from the crudity
of the metal. Ostrich tips and aigretteS
are the most suitable for trimming.
Some millinerS use black tulle spangled
or frosted with Silvey or steel, in COM
bination with gold. Thus a GOLD filigree
shape has a black tulle silver strewn
scarf twisted around it turban-wise. A
small roSette of pale blue velvet is used
to secure couple of gilt peacockS'
wings, fastened in front of the crown.
The strings are in black ribbon velvet.
Notifications of the styles of the
Directoire period appear in the bOnnets
that have been sent over from Paris, as
for Dr.rrrn Nff I,n ,%r-In
the spring, although, as by an occa-
capotes will hardly altogether
disappear from notice. Among
the multiform shapes to which
attention was attracted in the
early importations is one with
a large soft Tam O'Shanter crown
plated at spaces of about an inch to a
projecting upSpringing brim, the crown
f1attened until assuming the effect of
the crown of the beef-eater's hat, and
the brim curling back. The more re-
cent winter bOnnets are somewhat
larger than those which appeared ear
lier in the season. and the prediction of
larger hats seems probable of vertical
ton. An Illustrative model of recently
made bonnets has broad fiat, square
crown and the upSpringing brim of the
ing somewhat more at the top while
narrower at the ears; the crown is COW
cred with some fancy material, most
likely Sprinkled over with gilt Spangles
or embroidered with gold tinsel bullion.
and the brim is of plain velvet overlaid
by Scantily gathered ruffle of gold tin
sci lace, or ruffie of point duchesse,
with bows of ribbon four inches wide
towering up from the edge of the crown.
supplemented by an aigrette of heron
plumage. Not only are felt and velvet
used for bonnets. but leather and kid -
peau de Suede eSpecially-are employed
for bOnnets and hats. The effect, when
arranged with gold embroidery, is excel
lent. A very pretty style of bonnet has
an AlSacienne bow in velvet and
MORE ribbon, with a finely-cut Jet bird
forming the center; the crown is formed
of mOire velvet, another novelty. Very
wide-cOlOred ribbons, woven with golden
tissues, are used with much success on
small capotes. The ribbon forms the
crown and trimming in one. The rest
of this elegant capeau is composed of
Nacre velvet and a white grass-like
aigrette. White and cream aigrettes are
employed with every color worn. Old
rose color and dark, very dark, blue are
the most fashionable colors.
The STARTLING THING
in the way of public apparel displayed
in public this week was Modjeska in a
nightgOwn. 1t is true that spectators
got only a scant view of it because she
was abed. This was in "Cymbeline,"
which is Shakespeare, you know,
and therefore all right. In this
scene, if you will furnish up your
Shakespearian memory, you will re-
call that the lovely bride s'Imogen"
lies asleep in the absence of her
husband. In comes a very bold, bad
man, whose object is to simply sclutinize
the room and its fair sleeper so that he
may carry away enough of description
TO convince his companions that he has
been there. Modjeska lies on couch
placed high on the platform with a cal
cium light shining on her. The dear
old actress is away beyond youthfulness,
but she was painted deftly and she was
cute enough to have the glare come
from back of her head instead of squarely
into her face. The nightgown had an
abundance of friilS to the small portion
visible above the sheet, and altogether
she looked pretty well. / wouldn't like
to write out all the language of Shake
Speare in this passage unless used blush
red ink, and L will only add one deft
touch of clever acting by Modjeska.
When the grea ly tempted intruder
bent over and kissed her lips she turned
away her head in her sleep with such
an air of instructive modesty that one
would have sworn she was not married,
much less mother and grandmother.