Omaha daily bee., 1902-12-14
New York opera season Reflects the
DEGREES of Fashion.


European custom OF elaborate dressing for
the theater has come across the water, and
Il has probably come to stay. Only when
the opera season in New York is in full
sway does one know what wealth has die
tated for the seasons wear in the even
ing. The commands Of the multi-million-
aires wife can be followed In full by COM
paratively few, but with a little ingenuity
every woman can make changes In her the
alter attire that will bring It more up-to-
date and cause her to be fa~shionably
gowned without being extravaganza.
Magnihcence is the keynote Of the cos
tuning, and when the entering wraps are
thrown back bodlces cut to the lowest
limit are revealed. These are held on by
the merest excuse for shoulder straps-a
wisp Of tulle slipped through diamond
clasps, a chain OF rosebuds. a scrap Of vel
vet or ribbon. Sometimes with a white
lace or velvet gown the entire shoulders
are out, the line OF the rounded neck slip
ping below them In the old-fashioned way.
With this the bertha fall, which covers the
top of the arms alone, is the only artihce
Tor sleeves.
Comparing such styles with the more
modest ones Of the orchestra, the ribald
mind interrogates:
"Must one show all ones collar bones
ito get into soctetyy'
Even the ]toilettes Of very young girls
are cut low to some degree, though the
best models in these show a charming
simplicity in make and material.
Effective Combination.
White chiffon with Greek borders OF gilt
braid was the combination effective in the
toilette OF one fair maid who wore a unique
headdress. This was a long bow of white
gauze, folded to initiate ribbon, with a
fall Of gilt wheat ears at either end. The
adjustment of the bow was straight across
the head, which brought the punches Of
grain becomingly behind the ears.
This same simplicity is often displayed
in the ~toilettes Of the younger matrons,
whose charms are enhanced by plainness.
With one opera gown Of ruby velvet worn
by a pale, dark woman, bodice d~rapings of
white tulle was the only ornamentation.
Two other pretty young wives, who seemed
scarcely out of their teens, wore bodice
decorations Of artificial flowers, small water
lilies with rubber stems shaping the fall for
white silk and chiffon gowns.
The wraps which mufie all this lowell
ness and hide from street eyes the dia-
monds, pearls and other gems worn in
lavish profusion, are Of one sort as to
length. With the finer gowns cloaks are al
ways skirt long, and velvet, white cloth,
lace and chiffon are SOM OF their rich ma
terials. The airy textiles are applied to
cloth and silk, which, in turn, are lined
with some delicate fur, generally ermine.
In this case there is commonly an ermine
tippet or scarf. Marabout in the same
shapes gives a fairy touch to other wraps.
Theater Garments.
OF recent years, so great has been the
change in theater fashions that even out
side the opera one sees low-cut gowns. AT
an important first night the dress displays
are sometimes very impressive, and low
cut gowns in many gala materials show not
only in the boxes, but here and there in
the orchestra chairs.
The heads Of the wearers reveal numerous
styles Of hair dressing set of with wired
bows, aigrettes, velvet roses, leaf sprays
and combs Of many sorts. This holds good
with both the elderly and the young, for
the theater hat, as 1t was once understood,
no longer exists. II gray hair will insist
upon a bonnet. the structure is everywhere
most modestly proportional.
During Buses New York engagement
many beautiful costumes were seen, exhib-
iting in every detail what the elegant
NeW 1OTh WOMAN reels lb correct LOT inca
ter wear. Skirts almost Invariably were
trained, and, mixed in with more splendit
creations, were dainty little gowns which
the wise woman frequently knows to b.
home made. Delaine and cashmere. either
in white or fait color-pearl gray, azure
dull rose, or pale green-composed SOM
of these pretty frocks, whose models raj
chiefly to a flounced skirt and blouse waist
Always there were lace or batiste inseti
inserted in some novel way. with man!
dropping shoulder effects, and unlinet
stocks. the lower edge of which took tn,
present downward dip at the front.
Much hand tucking was observed. Il
one instance II shaped an entire founc
for a frock in dull blue yelling. Yello'
lace insertion. In a sort of Maltese pattern
ornamented this. The big squares wer
detached and set at a diamond angle 1
the bodice and sleeves. The front OF tn
blouse bodice was OF killed mousselin
(white), tucked in a dropping line acros
the bust to give a voluminous look. Tn
under puns Of the bell sleeves, whic
slashed up at the back, were Of the sam
material, and ali over the yellow lace inset
light sowing Of black French knots pro
Vided effective contrast.
With this costume and Others the intro
duction of a fragment OF the gown stu
IN the lace stock was a neat trick for be
comingness. Again, a touch Of black velve
would be used, or both black and color, an
the sleeve finish would repeat the sehem
In a straight wTistband. eufi or edge.
Dashes of Color.
The fact that most OF these evening Skin
are detached from their Innings makes
possible to use one silk drop for sewers
costumes, and a careful search Of the shoI
will reveal many cheap laees Of choiS
design. The Maltese limitations are esp
cially desirable. and II a good tone
yellow can be found in them, they ca
frequently deceive the most knowing.
Cloth in white or pale %colors, faille az
velvet, are popular theater materials. wi
here and there an all-over lace frock
one OF crepe de chine. This last textur
indeed, is much seen and every species
lace and variety OF handwork may go wi
Il. For example, on one bewildering crel
gown in the tenderest pearl-that mis-
tint which seems as much white as gray