Evening star. [volume] (Washington, D.C.) 1854-1972, 1903-10-31

wealth of handwork expended upon them
and their intricacy of detail that each
is unique creation. Where there is no
limit to variety of foundation material. and
trimmings can be obtained in bewilderng
array, it would be strange If any two wraps
should be exactly alike.
Evening wraps are all TO be loose" one
statement is not altogether grounded OH
fact. Most of the wraps are loose, but In
their midst there is apt to be seen one Of
the tight-fitting Louis XIV basque coats
which has an almost annual revival This
divergence of the modistes has note of
encouragement. in that it allows for the
exercise of individual taste.
A Louis XIV Model.
One of these Louis XIV coats is particu-
larly charming in a white velvet of a su-
perb quality. 1t is trimmed around the
neck, down the front and around the three
quarters length coat skirt by a band of
white satin applique In an open-work flow
er pattern. Narrow silk braid bordering
the applique gives a particularly rich eff
feet. The same trimming is used on the
short hip volants and the cuffs of the bout
FAINT sleeves. A narrow white satin vest is
inserted in the front, but this is almost en-
tirely covered by a lace jabot which falls
from the throat. The same lace is used for
the wide ruffies which finish the bottom of
the sleeves. The whole wrap has an indie
scribable air of elegance and refinement
The loose coats are all shorter than of
late years. Three-quarterS, or an even
shorter length, seems to be popular, though
as winter is more firmly established there
is little doubt but that the extremely long
wraps of other years will have some vogue,
particularly for opera wear.
Panne velvet is one of the most sumptu-
Gus fabrics of the season. 1t furnishes so
rich q background for lace or applique that
there is small wonder that it is a fayorite
with both modlste and milIner.
In Pelerine Effect.
A pretty panne velvet wrap is in the old
fashioned pelerine effect. In reality It is
nothing more than loose coat whose full
ness falls from the shoulders from beneath
tight-fitting cape. But the sleeves are so
sweeping that their folds merge into these
of the coat and give the pelerine effect.
This wrap is a length between the three
quarters and the hip. 1t is lined with
salmOn-Colored satin and bordered by a
rich white chenille fringe headed by
square lace motives These are in A heavy
cream silk. hand-embroidered with stars of
black silk The same trimming is used NOT
only on the edges of he sleeves but runs
up them in several parallel lines Other
lines mark the center of the back and trim
the front edges of the coat. The shoulder
cape is of handmade silk lace shaped into
odd points and Ornamented with insertions
of the lace motifs. An oddly pointed bre-
telle extends down over the sleeve and is
finished by a lace drapery edged with the
fringe. mink collarette gives the nee
esSary touch of black to correspond with
the black silk stars the lace motifs
Another evening wrap on which fur gives
effective color contrasts is of black broad
cloth 1t is in three-duarters length. and
Is enriched by a princely guipure lace ap-
plque for third of the distance above the
bottom hem. The V neck is outlined by
double rows of Russian sable caught In the
front by jeweled clasps and finished by
iYroi1 fni lie ,l,,
at intervals down the front on the shoulder
cape and the sleeves. The fur has a charm
ing background in the oddly shaped Shout
DER cape of the guipure. Its rounded tabs
or pane!s are finished by ten-inch fringe
OF heavy white silk cord. One of the fringes
extends over the sleeve with graceful effect.
The Much Trimmed Sleeve.
The sleeves themselves are widely far
Ing and lace incrusted. The undersleeve
of accordion-pleated white chiffon is fin
ished by perfect cascade of narrow, rib
bon-edged. pleated ruff1es of the chiffon.
They extend fully three inches below the
broadcloth sleeve. The coat is also lined
with the accordion pleated chiffon over
white satin, the chiffon extending an inch
or so below the coat
coat which makes use of ermine for a
trimming is decidedly of the pelerine or
der: 1t dips decidedly from front to back,
and the same curve is followed by the
widely fiaring sleeves The mauve broad
cloth which is the coat foundation clings
closely to the figure and combines simple
lty with elegance. It's only trimming is
succession of narrow folds of the material
around the bottom, rather large lace me-
da1lions on the sleeves ana the ermine
stole.
The stole is handsome enough to atone
for the lack of other trimming. 1t illus
trates the of fur and other ornaments
in combination, for 1t is finished by lace
medallions and held in place a the breast
by silk braid and fringe ornaments. The
sleeves have the cloth folds running both
vertically and around the bottom. They
are also trimmed by bands of the ermine.
The coat is lined without by accordion
pleated white chiffon over white taffeta.
Fringe is Used.
Fringe has an important role to play on
almost all the evening wraps. Sometimes
it edges the bottom with rich effect; some
times it gives greater depth to the already
deep fitted cape collars; at the very least
there are fringe ornaments sprnkled law
ishly over the coat
white velvet coat has these fringed or
naments but they are lost sight of in the
mass of trimming which adOrns 1t. The
velvet is so incruSted with panels of eXqui-
site renaissance lace that one is tempted
to call it a lace wrap instead of a velvet
one.
Like many of the evening wraps, it has
a neck. The cape collar is rather mar
row on the shoulders, but it falls in deep
point in the front and back. 1t is paneled