New-York tribune., 1909-03-21

those colored silks enivened by touches OF gold.
AS for buttons, they OF all and every kind. and
used at every possible point both skirts and
bodices These may he OF the color and ma
terial that of which the costume is composed,
or OF entirely different nature. The most used
button OF contrasting color IS the black Jet the
size Of a silver quarter. II is used on every sort
OF gown and on many OF the street dresses and
coats
Band trimmings used outline the edge OF
the low neck corsage. and the same band extends
over the shoulder. The opening is generally veled
with net or lace. and may be lined with white or
delicate flesh colored net OF chiffon to enhance
the beauty OF the skin Bodice garnitures of crys-
tails bugles and beads also TO be had for
corsage decoration. These have the upper edge
quite straight, but the lower is on irregular
outline, aud often finished with bead fringe These
also have the straight bands going the shoul-
ders.
To show the extent TO which chiffon veilings are
used may be cited the example OF Paris made
foulard in dull blue, with white spot This is
covered by a long. narrow. separate coat Of taupe
gray chiffon. edged with a narrow band trimming
of soutache braiding in the same tone. The short
sleeve of the coat is cut in one, with the body OF
the garment in the Japanese style. After this coat
is 1t is drawn In TO the body about the waist
by means OF narrow crushed gray satin girdle
the long ends being careessly knotted at the left
side of the front. taupe satin gown is yelled
with a red plum chiffon, that gives a particularly
odd and attractive color.
THE USES OF CHIFFON
Chiffon somehow or other does not seem to COM
bine properly with foulard With satin II goes
WELL but there is an indescribab BILE lack OF harmony
between chiffon and foulard. Nevertheless It Is
used for both sleeve and waist draperies For
this purpose the chiffon is selected to match the
dominating color in the foulard, and perhaps ii is
because there is so much white in many Of these
foulards that the colored chiffon is too violent
contrast. The best model carrying out this idea
is one by Drecoll made of cherry foulard with
a small white dot. The skirt is a slightly draped
affair entirely of the figured fouard. The bodice
too is draped the wide girde having touches OF
black satin and large Jet buttons. Above this
the front opens over narrow chemisette of lace
and embroidery with fiat narrow collar of the
embroidery. There Is mere cloud of cherry
chiffon over the shoulder. while the sleeves
of the bishop type, made of cherry chiffon and
ending in narrow cherry cuffs.
For the earlier season there are lovely long coats
and capes made OF satin, shantung and lightweight
broadcloth In all the pastel shades and lovely odd
colors of the new Many of the silk and
satin coats are unlined. as are all the broadcloth
garments.
The fashion lessons to be drawn from the multi
plicty of French garments display that
we are gradually returning to the normal waist
line; that skirts comfortably and gracefully
wide that long sleeves will prevail for the strictly
evening gown intended for formal occasions: that
tunic draperes continue to share favor with the
plain skirt for elaborate gowns: that have
passed the period when there was a preponderance
OF styles from any one epoch. and that the styles
of all ages made to pay tribute to the modern
wouan's aesthetic taste II change In fashions
is TO come. come IT undoubtedly will In a future
season. the masters minds will turn TO the
1880 and early Victorian shapes which are so near
ly allied and with their frills and furbelows Illus
trate decadent periods in the art of dress but will
rather turn to the source of inspiration of those
early nineteenth century styles. The next turn In
the wheel of fashion will hnd uppermost the Louis
XIV and Louis XVI period, when la Pompadour and
Marie Antoinette the rulers of feminine
modes. But these, too. must be submitted to the
inexorable requirements and the twentieth
century woman. so that 1t will be the Louis motifs
which viii be taken the keynote OF fashion rath-
er than actual reproductions of the garments Of
that period