The morning news. [volume] (Savannah, Ga.) 1887-1900, 1893-12-10

what tints. Colors and materials are
mixed in this array of names. There is
peau de suede, soft and thick mOnair.
with long hairs; the Montrose. a white
vlgogne OF great richness; the Strand, n
cheviot of black ground with a figure In
co.ors, running over; the Flamande, fine
diagonal on satin ground; Middleton. n
snowy sacking, with a rough and scragglv
surface; Queenstown, an Irish poplin. and
Eastbourne, a crinkled armure novelty.
ana so we struggle among fantasies and
bewildering maZes of queer appellation.
In Paris the rather inspired rose color
is combined with many shades of green,
noticeably vert russo. Here we have
taken somewhat to ciel with our black,
and pale yellow is frequently employed
with soft effect. Particularly in the
evening bonnet and dress is the yellow
desirable. For it combines exquisitely
with the tiny jet crowns, ar the Jet o4nl-
ment or tillet that takes the place of
toque. To be sure, il will be long before
magenta will be overwhelmed. for it has
a glow and brightness about it that the
quieJer tints lack
l saw yellow tastefully combined with
black in carriage cloak which I caught
but a glimpse of as it passed The black
velvet turned back in big revers that
were faced in creamy, rare old lace At
the edge was tiny band of jet over pale
yellow velvet. In the lap lay bunch of
yellow roses.
Then a rich brown melted off into the
creamy color. 1t was plain skirt, with
three rolls of velvet running around,
several inches above the edge. A neat.
close-titting jacket, all of brown velvet,
stopped just at the waist, turning away
in front from the pale yellow silk that
was gathered into long puffs from neck to
waist. A very neat astrachan hat, of
low crown, topped the costume. 1t turned
up in a quiet edge, which was cut away
just in front, where wide satin ribbon.
braided, was drawn over to meet the
aigrettes and black ornaments that rose
up, Two single black satin choux finish
the back.
A sable trimmed gown was rather
striking with the fine vigogne in clear
Havana brown. The three rows of sable
on the skirt were placed almost in the
center. A pointed yoke of fur was in
serted in the otherwise plain bodice that
was neatly banded at the waistline; a
small velvet ruttie fell over the gigot
sleeves, and was edged with sable.
The overskirt idea is making rapid head
way-not so much as street wear as in
evening gown, Even in the former, how
ever, il is noticeable-in the slight drape
of the skirt that hangs over, almost to
the length of one beneath in the fancy
hip drapings; and in the prolongatlou of
basques into pretty folds and falls Two
costumes are here reproduced that illus
trate admirably some of the newest of
the overskirt ventures. They have grace.
a virtue which not all can lay claim to,
and they are not too radical for the aver
age American.
Number one is black a velours over a
rich, dark red ground. The skirts plain,
with gathered back, simply edged with
band of brocade. Then over the plain
bodice is fitted a second of the same dark
brOcade, cut round and low at the neck,
and edged with black feather trimming
This bodice is slanted off entirely at the
left side, and runs round TO the back of
the right. Beneath the belt, which is a