The Salt Lake tribune. [volume] (Salt Lake City, Utah) 1890-current, 1908-11-22

other part of the gown, In this case
the gown was of brown taupe color,
There arc two taupe tones, for want OF
q second name. one much browner than
the other, Among tho imported models
the brown taupe is more in evidence
than the gray tone. which approaches
London smoke IN color and shade.
1t is never certain whore the braid
ing is 20 be looked for in the new
costumes, but it is sure to appear either
ut back, front or side. In some cases
1t claborates q back panel. while the
front OF tho gown is perfectly plain.
An instance noticed day or two ago.
a gown of cherry colored ottoman silk
had braided panel at the front of the
skirt, which had the effect of being one
with the plastron decoration of the
bodice. The yoke and sleeves were OF
tucked net. The odd finish of the cor
ners of the tunic is one of the late
whimsles In not only gowns, but man
ties, In some cases the material OF the
garment is frankly knotted, The fancy
is especially conspicuous in Directoire
coats. 1t is said that In the Directoire
days sleeves were too long to be con-
venient and grand danes were in tho
habit of tying knots in them when
they went walking. The corners Of
some of the pointed tails of Directoire
COdlS aJp lOu lOBE iOl Vic N1lAluE
skirts with which they are worn, and
so knots arc made in them for con
venience, apparently. Some of the coats
with knots of this sort have bright
Innings, which are in evidence in the
punching Of the corners.
One of the most attractive gowns seen
this year, and one which Illustrated
in an especial manner the nice handling
of the old classical styles by the mod.
crn tailor, was made of black silk cash
mere. The gown was OF pure Direc~
toire style with a skirt dTaped close to
the figure and running into the bodice in
q draped shoulder strap that went over
the front and back OF the right side
and merged into the slightly wrinlSled
high princess front. The skirt was long
and long sleeves were of gold tissue,
braided all over with a fine black SOU
tache.
Another dress of sat;n-faced cloth,
this time of amethyst, is beautifully
carried out in the Empire princess,
with the top in the same. embroidered
with an elaborate and heavy design in
gold. Tho skirt is laid in three,lnch
blind tuck, some six inches from the
center front, gradually swerving down
ward until. around the back, 1t covers
the hem The top of the skirt, where it
is Joined barely below the bust. form
ing the bodice portion, is finished with
fold of amethyst velvet. There is d
narrow pointed yoke of white chiffon
finely tucked, and straight close-fit-
ting sleeves Of the same.
For the first season in many years all
white is overshadowed by colors, even
for dancing frocks. The soft pointed
tints are much preferred, and where
all white gowns are seen il is always
with touch of color at least. 1t is
the same with black. The manycol-
ored embroidcries are responsible for
this.
A charming confection Of white
crepe, suitable for opera. either with
or without the little tucker Of corded
tulle, is made IN one piece, a plain
foundation, fitting quite smoothly
everywhere, having a bretelle tab set
in at each shoulder, and falling Just to
the Empire waist line in back and
front. These tabs are Of the crepe, the
outer side finished with band Of en-
broidery on white ground, the colors
Of which shade from soft tints into
rich shades of yellow and red browns.
The ends of the tabs are crossed by a
deeper band about three inches, and
the inner side is outlined, as is the
rounded neck. where 1t meets the
tucker, with piping of velvet of one
of the deeper shades in the embroidery.
Bands the width of those on the tab
ends give a pretty finish to the under
sleeves, which. like the tucker, are OF
tulle. a silk sash is knotted loosely
around the waist and again at the end.
Vapor gray is a design that would
work out exceedingly well IN any Of
the soft, rich cloths, The princess
skirt meets a shaped section of chamois
brocade. which is attached to it, in a
seam without beading, while the top,
which meets the upper portion Of the
costume some two inches above the
princess skirt. meets a shaped section
Of chamois brocade, attached to IT in
seam without beading. The top,
which meets the upper portion some
two inches above the normal waist line,
is slashed at either side of the front
tucked chiffon. This has an over-por.
ton cut in points of different lengths,
each finished with gold cording. Al
though the lines in this dress are in
reality interrupted and broken In so
many places by the introduction Of for
eign materials, it appears to have all
the continuity that belongs TO the Di-
Tectoire.
The two important and most notice
able features that might be mentioned
IN connection with any collection Of
frocks is the favoritism shown the
sbeathing of the bodice with embroidery
or lace. and the fashioning of the part
above an Empire skirt with chiffon,
net, OF some other sheer material.
The newest cloth to appear In i'm
ported tailormades is q smooth, satin.
faced fabric with an interviewer rib.
Tho weave will undoubtedly become
more familiar as the season wears on
Ottoman effects in silk, wool and cotton
are at the height Of popularity lust
now. Ottoman and faille make up some
Of the handsomest street suits, either
In three-piece models or in separate
coats with cloth skirts or in gowns
with cloth coats. The ottoman silk
suit, however, is an established favorite.
These old.time silks lend themselves
especially well to tailored effects The
heavy serges. which arc being used ex-
tensivcly in both morning and after
noon suits, arc remarkably attractive
in the long coat models and in the rich
nf no