Evening star. [volume] (Washington, D.C.) 1854-1972, 1904-09-17

dubbed by many dressmakers grandmother
puffs, fichu draperies on the bodice going
with them.
In character the white altar dress Is the
same as ever, except that fashion now per-
mits sleeves to be elbow length. They are
met by long gloves, which wrinkle over the
arms, and from the opening of which the
hand is merely slipped for the ring. The
bridal waist is severely high in the throat,
for the least degree of decolletage Is con-
sidered indecorous. But a low cut will often
be simulated in many ways, and then filled
in with a high lace CAMP yoke of some
sort. The length of the train seems to be
a matter of individual taste. Some of the
round gored skirts, made with something
of the old fullness, barely fall upon the
floor. Those with robe fronts are often ex-
tremely long, and upon these are lavished
the quaint trimmings that go with these
stately and antiquated styles.
Tulle and Lace.
The veil, most charming feature of the
entire bridal toilet is carefully considered.
Many brides wear the big lace wells cover
ing the entire figure, and giving them the
look of shrouded statues. But tulle wells
are equally In vogue and far less expensive
than lace, and, somehow, they seem more
suited to very youthful brides. They are
attached to the couture in whatever way
becoming to the wearer, but generally fall
from knots or a half wreath of orange bios
SONS. Going to the altar the veil is worn
ONS4 1iLC IoSSJ anu SOiuill6 1iOlli IL lHIONh
back.
Two rarely beautiful bridal dresses show
new and charmingly simple skirt trim
mings Upon gown of white satin de
Lyons, which is still prime choice for bridal
wear, chain or orange blossoms is looped
with bows into Louis XIV garlands. The
low-cut bodice is shirred at sleeves bust
and back, and filled in with a yoke of
Duchesse lace. Two frills of the same lace
fall below one of the sleeves which are
deliberately puffed and trimmed down the
shirring with orange blossoms. A wide
crush belt of satin with pearl buckle and
slides completes the costume.
In Blue Silk Muslin.
In attendance upon this rich gown Is
shown bridesmaids dress of pale blue silk
muslin, fashioned with a quaint gtrlishness
and decked with frills and bands of saffron
tinted Valenciennes. The f1aring hat is of
pale blue felt with saffron feathers and
large pink rose.
Artificial roses continue to be of the cab
bage variety. A number of the huge and
rather coarsely textured ones are called
calico roses, these showing marvellous reds
and splendidly decking shirred velvet hats
AS for the hats themselves, they all look
like stage trappings, for they are very high
in crown, fiaring in brim, and Electrically
garnished.
The second bridal gown is Of white silk
muslin trimmed with pure white Valen-
c!ennes and grandmother puffs. plain
band of these borders the train. which
hangs loosely, with an additional edge Of
lace over the petticoat front. Short-shaped
puffings looped from knots of orange bios
SONS and Louis XIV lace bows superbly
deck the back of the long train. The slight
~ blouslng bodice Is made with a yoke and
Is deliberately trimmed with Valenciennes.
The matron of honor costume is of pale
mauve etamine incrusted with mauYe lace
The hat with 1t is of mauve felt and ostrich
feathers
Other materials used in the new bridal
gowns are chiffon cloth, crepe de Paris
crepe de chine and many patterns of fancy
silk all of which effect more fairy-like
air than do satin and the plain heavy silks
But bridal tradition still holds satin and
point lace as choicest bridal materials, and