The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1905-04-06
"a TYPICAL FRENCH STAGE COSTUME

Copyright, 1905, by r. F. Ayers)
IN Paris even more than in New York
II do We look to the stage for our
loVeliest gowns, for the very newest
ideas in feminine attire. The whole
world copies a successful theatrical
model, and row that society women
even depend upon our best dressed
actresses for styles these women of the
stage have been forced to make the
sartorial art careful study. OF course
they put themselves in the hands of the
best dressmakers, but the problem
works out better if they understand the
requirements of both the part they
wish to clothe and the twentieth CEN
fury art Of dress.
For Mile. Thomassin the above
sketch. whose reproduction comes di-
rect from Paris, was rendered in the
most delicious pink mousseiine that II
has ever been the trick of the weaver
to produce. There were five graduated
rows of plated mousseline put on the
skirt horizontally and on a straight
line. The lowest was probably six
inches wide in front and twice that in
the back. Above, this ffouDce came
band of d'Alencon insertion having a
medallion patterns. Then the next
width plating fell to the upper edge
of the lace insertion and this in turn
was headed by a strip of d'AlencOn.
Will Tic ICpCdNCu utilii
the length of the skirt. was hidden I'M
der this ornamentation.
The top of this daintiiy trimmed skirt
was fulled into the belt with ordinary
gathers, and this was concealed be-
meath a wide shaped girdIe Of pink silk.
The only contrasting note showed itself
in the infinilesimal cravat which was
black. This rested against q stock and
yoke of d'Alencon. Then below was an
insertion of medallion trimming alter
mating with narrow plaitings of NOUS
seline like those on the skirt. Instead
of ending at the sides of the bodice
these alternating strips were carried
across the sleeves to form the full up
per puff, which was finished at the ell
bow with deep frill of lace.
The actress drew long white gloves
to her elbows and wore delightful
plume wreathed hat of pale pink straw
having q long ostrich feather curling
over the upturned left side and smaller
plumes nodding over the shallow front.
Another ravishing gown designed to
be displayed before the footlights was
of white tulle embroidered delicately
and mounted upon a rose pink slip.
The tulle was disposed in such a way
that it formed scallops down the di-
verging sides of a rose pink tablier and
then curved around the bottom in seal
lops over r full silk fiounced train. A
SILK rucnlnR trimmed the loot OF InlS
silk part of the skirt and upon this,
as well as upon the tablier, there were
medallions of the lace daintily ap-
pliqued at regular intervals. Those
down the front of the skirt grew
larger as they reached the foot. while
those on the f1ounce increased gradual
ly in size from the front toward the
back.
A scalloped bolero of embroidered
tulle over rose colored silk constituted
the bodice. which was cut out only a
trifie at the throat Below this fell a
moderately deep collar formed of two
overlapping pieces of the scallopej
hand embroidered tulle The sleeves
were small puffs and flouncipgs of the
embroidered tulle, but the striking part
of the gown was seen in the back,
where vatican fullneSs fell from the
shoulders to lose itself in the folds of
the skirt
The reign of the peacock is evidence
ed in two toned mousseline evening
gown, where the full skirt is richly en-
broidered with feathers in peacock
shades. The long curling plumes start
from the shaped yoke over the hips,
and then increase in size as they near
the foot of the skirt. The handWork is
exquistely done, the velvety greens
and blues standing out well from the
two toned mousseline in which the
paler tints of these colors are artistic
ally blended.
A corselet is the distinguishing fea-
ture of the bodice. 1t is very straight
down the front, closing with row of