Evening star. [volume] (Washington, D.C.) 1854-1972, 1910-12-18

over cerfse tints. the peacock and might
blues produced by blues over green's, and
| so on. Paul Poiret is a wizard at these
yelled effects and some Of his evening
this winter. A little green frock. de-
signed for a golden-haired debutante,
| was especially lovely. The slip-straight
and narrow-was of deep green satin and
| ings OF chiffon in four tones Of green.
from q soft leaf green to a faint tint
almost white. AS the tunics grew higher
they also grew shorter, so that the top of
the frock was very pale green and the
shade Around the high waist line was a
slender gfrdle Of gold cord and this was
| the only trimming noted on this little
green debutante dancing dress.
These classic effects are exquisite on
test. A white crepe de chine robe with
straight. narrow skirt and little Greek
bodice was worn by a regal young crea-
ture the other night at the opera. and the
over the statuesque form was almost
startlingly frank. Embroideries done with
gold thread decorated the bodice and
hem OF the skirt, and a gold cord girdle
encircled the high waist line: The bodice
was extremely low. and only fall of
delicate lace over the top of the arm
suggested q sleeve.
This year the decollete effects have ex-
| ceeded all previous records. The newest
evening frocks are practically without
backs, SO deep is the V and SO narrow
the line of bodice seen at each side. The
V-shaped decOlletage is the most fashion-
| able. but occasionally one sees what is
called ''U-shaped'' back, which dis
plays a minimum Of bodice and a maxi
mum Of back. In front the cut is pro-
portionatel! low and in many cases not
a Vestige Of sleeve is apparent. AS there
is fad just now for drawing off the
long gloves during the evening, the bare
effect is frequently rather startling. A
woman in a box at the opera the other
night wore a pink chiffon gown trimmed
with black marten fur. A line of the fur
crossed the top OF the bodice squarely
across the front and extended IN a
straight line out over the middle of the
forearm q little sleeve Of chiffon extend
ing from this fur line to the elbow. How
this bodice was kept on was mystery.
Another daring decolletage is the trans
parent bodice, the outer bodice of chiffon
being laid over veilings of f1esh-colored
tulle. not really entirely transparent. but
with a startling appearance OF being so.
bodice of this sort is illustrated in the
opera gown of velvet with fur trimmings.
This costume. by Beer, is of velvet in
the new japanese red shade-a deep. rich
tone between claret and fame. The skirt
trails at the back in a little square train,
but is draped up in front to show the
petticOat of fur trimmed chiffon fiOunceS,
the chiffon being in a faint pink shade.
which harmonizes Well with the red OF
the velvet. The pink chiffon bodice, fold
ed simply i'll surplice style across the
or should one say "thinnesses'- pink
tulle, and the effect is extraordinary; as
though the chiffon surplice We're draped
over the bare flesh of shoulders. back and
bosom. The pearl embroidery softens
the joining Of chiffon and velvet and the
dark line of fur on the sleeves is most
artistic.
The little headdresses initiating turban s
and caps are really only Alterations. for
few Of them are worn through the street
as protection against the weather; but
they are ravishingly becoming and COM
plete many an evening costume by last
touch Of chic.
The prettiest Of these ''bonnets'' are de-
signed to show the elaborate couture to
great advantage. The hair is arranged in
a mass of curlS and puffs on the crown
and top Of the head and around this curly
chignon fits the cap Of ribbon and lace.
A band OF wide soft satin ribbon forms
the main part of-this cap. Along the outer
edge of the ribbon is sewed a frill of
three-inch lace, which tumbles softly over
forehead. temples and ears, the lace be-
ing tapered off at the back SO that it
does not drop too low on the neck when
the ribbon is passed under the hair. Two
big rosettes of the ribbon hold the lace
closely against the hair just back OF the
ears and sometimes tiny rosebuds or other
flowers are caught to the ribbon at the
top of the lace frill all around.
Other theater headdresses are in the
form of pasha turbans made Of gold or
silver net draped over thin silk or chff-
fon, a metallic ornament or a rose hold
ing the soft folds at one side: Such tur-
bans are sometimes worn through the
street with handsome evening coats.
With the beautiful velvet and chiffon
opera gown above referred to is shown
a smart opera bonnet, which is designed
to reveal the crown Of puffs forming the
couture. This bonnet is made of pearl
embroidered pink net and has little
wired brim Of pink velvet. An aigret
gives height at the front More in the
classic style is the ribbon band bound
around the head in another photograph.
This headdress, called the "bandage
STYLE" is much affected by very young
women this winter-and. truth to tell, only
young and pretty face could stand the
trying style. The ''bandage" passes under
the hair at the back and fastens back Of
one ear beneath a fiat bow or a metallic
ornament.
Dancing came back into fashionable IA
vor with a rush in Newport last summer.
Even the old bachelors who deigned last
A 1T