The Richmond palladium. (Richmond, Ind.) 1906-1907, 1906-10-14
the boards in Paris, and hence the gowns
displayed nightly by leading lights or the
stage may well be taken as guides to the

the boards in Paris, and hence the gowns
displayed nightly by leading lights of the
stage may well be taken as guides to the
modes current and to come.
Jacket bodices are making strong bid
for favor, and since they afford a charm
ing chance for the most lavish elaboration
the reason for their acceptance is not Tar
to seek. nor hard to find The best Of those
present frivolous little basQuines that are
tackled on at almost any point below the
bust, and that flare smartly out from the
body. Quite as often as not those little
basquines are continued In the back and
extended into position effects. Where the
gown Is intended merely for afternoon
wear those are left plain, merely being
lined with some dainty silk of harmon
izing tint, with perhaps piping along the
edge. But when adapted to a frock OF
formal intent the position back Is cas-
caded with plisse chiffon, tulline, or lace.
and appliques or embroideries of hand
work are posed in their centers. Entirely
dependent upon the height and carriage of
the wearer is the length of the back of
those charming coats or jackets or bodices.
or whatever one chooses to call them
They may reach quite to the hem of the
long-trained skirt, or they may end at
some quarter of q yard below the waist
line. Just whatever Will prove most be-
coming is correct.
In the reaching out after extravagant
elaboration the designer of today makes
of wellnigh everything that may pos
sibly be turned to dressy account. Ostrich
feathers and marabout appear In what
might formerly be considered queer con-
nections. For example. the decolletage Of
a fluffy frock In white tulline Is defined
with band Of the palest blue marabout.
this brought down In a bias strap to end
In the deep swathed ceinture of pale-blue
satin. Each one OF the four fluffy hounces
on the skirt disclose similar border, q
little spray that stands up after the order
OF hussar plume Is stuck In the couture,
and the huttering fan Is altogether Of pale
blue ostrich and marabout combined, while
instead of sleeves there are merely three
dropping blue ostrich tips on each Shout
der.
Fur trimmings are scheduled to appear
On both cloth and velvet gowns, and 1t Is
no uncommon thing to run across models
for evening wear In which white satin and
sables. pale pink and beaver, brown
spangles and mink are cleyerly contrasted.
the heavy fur making the gown, the
wearer, the entire mise en- scene In which
It Is worn take on an aspect of added
luxury and extrayagance.
In the resurrection of the rever as a
corsage accessory there opens up field
for elaboration that the clever trimmer Is
not going to overlook. All sorts of trim
ming schemes are possible on those,
whether they be used singly or IN over
tapping sets Embroideries. organisations,
lace alloyers, insertions, edgings and pip
fngs all find adequate application on the
reyer. while as for the vest or waistcoat
1t may be as simply severe, or elab-
orately extravagant as the designer chooses
to make 1t.
Buttons and buckles form another item
OF expense that cannot we'll be avoided
where the later modes are followed All
sorts of extravagances are possible here.
from the plain horn button that decorates
the tailor made up to the deliberately cut
and jeweied disc that appears on the
smart dinner or bridge coat. The artist
metal worAer-aEd this IS 8 feld Of de-
sign which many women have taken up
ard found exceedingly profitabie-displays
the most fetching effects. and where cost
IL not 3 Consideration some LeautifHl re-
suits can be achieved in their use on coat
or gown. Beaded buttons displaying Ores
den designs wrought out In natural color
ings and the tiniest beads are a smart fad
OF the moment. and they seem equally ap-
pro1-i2ts IpQ2 almost eny fabric.