Los Angeles herald., 1905-01-08
GIinpSes of Fashions
at New York Operas

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left shoulder and crossed at the waist.
| making the girdle. From the right
shoulder down to the pink drapery ran
a band of white lace. A large knot of
golden gauze Joined the lace and silk
on the left side of the decolletage. In
her hair Mrs. Lydig wore two large
velvet roses in shaded pink. Mrs.
Lydig does not need sensational gowns
to call attention to her exquisite Span
ish beauty, and her taste in dress. like
that of many others of the most sty-
lish women in the fashionable set, runs
to more delicate shades of pink and
to cream-colored gowns.
| With some of her white chiffon
gowns Mrs. Lydig wears an opera coat
of pale blue velvet and ermine, which
is probably the most effective cloak
that is flung over any of the opera
house chairs. 1t is quite simple in out
line, cut square at the neck and edged
around with ermine. The full sleeves
are caught with ermine cuffs and
very wide border of the fur finished
the coat at the bottom.
Among the many women in the opera
boxes who have affected white either
quite plain or with touch of some
pale color or embroidery in gold or
silver this season, was the Duchess of
Manchester, who wore a white lace
frock in close fitting princess style, and
Miss Alice Roosevelt, all in white chlf-
fon with shirred ruchings of chiffon
edged with lace on her full skirt and
very simple bodice trimmed with
smaller ruchings.
Mrs. Perry Belmont, whose costume
of heavy white lace with applications
of finer black lace was one of the sen
sations of the horse show. has evident
ly net escaped the craze for burnt
orange One of her frocks worn re-
Gently at the opera was of soft white
mousseline de sole with floral de-
sign outlined in golden paillettes. A
deep girdle of burnt orange was fas-
tened at the back with a huge pearl
clasp. From this descended two long
wide velvet ends reaching to the edge
of the train. The bodice of this frock
was of spangled mousseline with tiny
knots of the velvet.
Society for the most part has set its
stamp of approval on the very full
skirts. but only when they are voted
becoming to the wearer's figure. Every
now and again a skirt will be seen to
cling to the figure halfway down to t'se
knees, whence it flares in a most con-
ventional and up-to-date manner. No
really plain skirts are seen at the opera,
unless the material is chiffon velvet,
and even the monotony of this exquisite
texture is relieved by panels of rare
lace. Most of the skirts have wide lace
flounces, several of them running in
deep VS. over the wide skirt, or the
flounces are looped at intervals with
knots OF soft satin ribbon or roses.
Quantities of flowers are used on
evening frocks. These are sometimes
of silk and lace, embroidered on the
cloth itself. The pale-blue silk frock
has a wistaria spray with buds and
leaves of exquisitely shaded colors
strewn over the full gathered skirt and
over the simply draped bodice. The
full, short sleeves are caught up with
this same beautiful flower embroidered
in palest mauves and greens. The em-
broidery is done in such heavy silk
that it amounts to ribbon and gives
the effect of real flower which by
some magic art has grown on a silken
background.
An opera gown. quite simple lit
tie thing" the wearer called it. Of white
with long, loose sleeves Of lace inser-
tion and edglng.