Evening star. [volume] (Washington, D.C.) 1854-1972, 1906-01-20
SEEN At THE OPERA
Pale Mauve and Silver Gray
Next to White.
WITH FAIRY-LIKE EFFECT
Picture Hats Are Out of Vogue for
Tlreater Wear.
MoU SSELINE sCARFS
Massive Russian Jewelry Has Gained
Considerable Favor in This
Country.
MOUS SELINE SCARF

Written for The Star by Katharine Anderson.
The grand opera season in New York
and adjacent cities finally determines the
peculiarities in evening dress for each
season. Before this event--the opening
night at the Metropolitan Opera House
fashions are more or less nebulous, but
hardly has the first week rolled around
than it is pretty well settled that certain
colors are to enjoy a pronounced vogue,
and certain styles of hair dressing are
absolutely essential for evening. Even
the fads in jewelry are fixed by the wom-
en- who occupy the grand parterre.
Internationally mauye is immensely
successful this year, and this most trying
of shades is rendered more possible by
the fact that the mauve fabric proper is
sprinkled or studded with sequins which
carry the softer opalescent tints Mauve
is distinctly the color of the purest of
blondes and the clear skinned brunette.
No tint betrays more relentlessly the use
of makeup. though even those women
long past the heyday of youth try to defy
its power by the most skillful employ
ment of cosmetics and couture builders.
Another shade that is extremely trying
to the complexion, but most exquisite
under artificial light, is genuine silver
gray in palest tint, which for evening
wear appears in chiffon, velvet, brocades
and satin-surfaced silks. Combined with
real lace and silver or pearl trimmings,
these hues stand next to white in the es
timation of the women who affect the
most delicate of raiment.
Princess styles are greatly in vogue at
the opera, and the severely plain skirt
lines are carried up to the point of the
decolletage, which is finished with frils
of lace or the most wonderful of hand
embroideries mixed with jewels.
A Princess Crepe.
One gown that created an enormous
sensation was cut princess style in white
crepe de chine, finished very simply
around the decolletage with rose fittings
of white tulle. The bottom OF the skirt
was finished with the Vandyke point
effect in black sequins. The wearer car
ried a huge black fan and wore in her
fair hair a butterfly of black spangIeS.
The heavy band of trimming at the foot
of the princess gown is almost essential,
as it drags it downward and gives the
slender, graceful lines needed TO set off
princess frock properly.
Very few plain lace dresses have been
introduced at the opera. While the lace
robe is still used, this expensive foundation
is merely secondary to the embroidery with
which it is overlaid This embroidery
produces enormous sprays of flowers Joined
or tied with embroideries Stimulating rib
bon garlands or Marie Antoinette bows.
Generally the bottom of the skirt has
shaped double hounces, the junction being
y
Pink and blue are the favorite colors in
combination on white or cream-colored
lace, the blue being used for the ribbon
garlands or bows of pink with a pinkish
yellow for the sleeves American beauty
roses are also used for this embroidery, and
pansies appear on the robes for elderly wo-
men.
There is more or less of a vogue for gold,
but it will hardly pay for woman of mod
crate means to indulge this fancy A gold
rose for the hat or to set off the marabout
muff or stole is all very well, but a gown
embroidered heavily in gold thread is a dis
tinct extravaganza, and will hardly last an
other season. Already the gold belt and
the gold ceinture on hats Is under the ban
of well-dressed women.
Luxury in Shoes.
Shoes for wear to the opera or theater
this year are very extravagant. The satin
slipper must match the gown If evening
dress is worn. For the theater, when a
somewhat elaborate tailored dress is worn