Evening star. [volume] (Washington, D.C.) 1854-1972, 1905-12-23

the French tinsels are lucky indeed. At the
good places where unseied bandeaux and
other hair ornaments are sold these things
have mounted enormously in price. A scat
tered gold rose, with white tulie center,
green leaves and white tulle buds. was 81
And lucky you are to get 1t at that was
confided to the purchaser, who was told
that the shop could sell carloads of such
posies IL 1t only had them.
! Some opera effects for dowagers and
young matrons showed that material was
the only distinction between ages. The
heavier brocaded silks are thought more
suited to older women, but all the gowns
show the same Juvenile simplicity of line.
That is as far as the skirts are concerned,
for where number of the younger women
like some species of sleeve with their low
bodices, women of fifty and sixty are seen
with the narrowest strap over the Shout
der. Wide collars, in innumerable strands
of pearls and diamonds, hide the throat and
the arms are almost entirely covered With
long wrinkled gloves.
Dainty Guimpes.
The cut of the average bodice is low to
excess, but all sorts of dainty little guimpe
effects are employed to lift these to the line
necessary for modesty. The usual skirt is
only slightly trained. The enormously long
tails once worn have been found utterly
impractfcable. The outside skirt, what
ever It's material, hangs: loosely from the
petticoat, and when thin. textures are en-
ployed, beautiful shaded effects are obtained
by an arrangement of several petticoats in
as many shades of one color.
The two drawings given display some
handsome and yet reasonable opera tofettes
recently seen. The two gowns in the larger
picture, since they are accompanied by
diamond tiaras, may be assumed as young
matron effects.
Tulle and Gold Lace.
The one at the left has skirt of lace
tulle and a bodice of solid lace. with an
edge of blue satin. The skirt is embroid-
cred all over in small bouquets with rocco
ribbon, and shows three bands of Alencon
lace arranged In an odd border At the
front of the waist. over a chemisette of
white tulle there is a crossed vest of blue
satin The three-quarter sleeves of this
beautiful waist are of chiffon, blue satin
and lace.
white lace and chiffon, embroidered with
gold. Gold-spotted tube edged with gold
balls forms an effective scarf drapery at the
front of the bodice, and the high folded
girdle is of gilt tissue.
a very novel bodice is shown in the gown
OF the other picture. The material OF the
entire costume is oyster white satin, show
ing tinsel and silk embroideries scarcely
more colored than moonlight. the satin
forms the skirt and the jaunty tailed waist.
The guimpe and lovely sleeves, which leaVss
the shoulders exposed. are of pure white
lace and tuIle The shoulder bands and the
one at the top of the sleeves are made
from garlands of silver roses and delicate
silver thread draws the guimpe. In con-
trast to ali this dairy nlusiveness there Is
a touch of electric blue satin at the front
of the bodice, down the front of which, and
even extending upon the skirt, there are
buttons of filigree silver.
Cloth, Tinsel and Net.
The four cloaks pictured are In the mod
els most seen, for the very popular direc-
toire and empire cloaks have not the loose
ness necessary for opera toaettes. All
wraps on the wide-sleeved Dalmatian order
are advanced for this purpose white pre-
dominating over color and cloth over all
other materials.
Into the more splendid cloaks of white
cloth there is sometimes a Iet-in border of
tinsel embroidered net, than which nothing
could be more beautiful. One such border
had against the delicate background clus-
tiers of silver grapes as huge as hickory
nuts: and the couture ornament seen with
this magnificent garment matched in fam
tasy. 1t was nothing less. In fact, than
a wreath of silver grape leaves.
Chaplets of this description, made of all
sorts of gilded and silvered leaveS-many
showing the lovely green~-4are favored by
girls of classic type whose opera costumes