The sun. [volume] (New York [N.Y.]) 1833-1916, 1910-11-20
GOWNS FOR EVENING WEAR
sow W a. tRORtJF ~ TO mr.
INTOSSIBg TO DESCRIBE.
NrIIIuss OF Wsn, tur> Factor Weasier.
fuI toior Effects prosiurcd by Sue
rrssrr Savers ssne Models That
nrrrali ami Pa.,u,n Have Turned Out.

Y
r.r gowns th's season Is n hopeless task
bn..I s.ouillv on. sca= model so simple
w. trcIrs that one can give an adequate
,.-c-irt - III il in words: but ma iority
81 ~" r~nllv handsome evening gowns
Hut trncSs for dre-sy wear. afternoon or
evening ara complicated affairs even when
thew haS" "A heguilnE air Of simplicity.
ia the first place there Is the multi
- C,tv Of vcilings n is not enough now
Iilv4 to veil a satin or crepe foundation
WIZ on" thin stun; not even enough 60
ard au inner LAYER Of chiffon or mousse
line for the sake Of softness. To-day one
finds layer after layer Of filmy material
u the modish frock. Indescribabl.
nuanCes 81 color are ohta ined in this fash
I'm MYSTERIOUS CLEANS ,f color and de-
Ign are seen vaguely through swathing
folds If chiffon or tulle Handsome laces.
wonderful embroidsri.s. scarfs. silLs.
v.lvcts. even ftirs are veilcd in diaphan nous
fabrics. There is a charm in the thing
No one can deny that. Gorgeous en-
hroiderics and trimmings gain wonder
fully in refinement without losing in ele.
gance by being seen through cloudy
mist Especially are the metallic effects
improved by yelling. losing in this way
any note of the barha rio with which they
might 10 approached. And a. for color.
well. in no other way could one obtain
the subtle shadings. the finely graduated
contrasts in which the artist dressmaker
ia revealing this year
We say artist dressma kar- advisedly.
for these superimposed layers of color
call for handling of q high artistic order
Not every dressmaker can hiring order
nut ofapparent color chaos by fine grad
ings Of shades and half tones. and the
average drsssnaker will do well 10 con-
'ine her yelling effects TO tho obvious.
which may be the charming as we'll
though il does not belong in a class with
the artistic triumphs.
The skilful way in which tho purple
and cerise or deep rose tones arc blended
and harmonized is a case in point These
combinations arc prime favorites in tho
great French houses and we have the
union in all shades Of daring from the
rompc ratively conservative orchid and
rose or delicate lavender and pink to
IN" audlcious purple and cerise shades.
whose satisfactory blending calls for
something approaching genius. Hero
we usually find the purple dominating.
and what rich. luscious puppies the season
has brought forth. The cerlse or deep
rnse motto 10 sounded first under yelling
~ misty 'purnl". possibly two or three
v"iling- in ono or varying shades Of pur-
~" may bc used IN parts Of the gown
Leading up To- cle,rcr glcnm Of the vivid
rose under one yelling. and finally 20 some
f.udaciou- unveiled splash Of the CAV
color applied. a. though nv inspiration
N the one spot whore IL will be most .f-
f"ctiv". wh.r" il will drag the whole color
scheme into harmony.
Onr sans many 81 these models AZ we
hav" said. some 81 them too striking 20 be-
he~rming to- many women. and most
NJ Thorn To-" striking to he advise bile Tor
any woman who wears her frocks often
and cannot afford To put them aside when
sh" ar her friends tire ~ them.
Almost ~ difficult TO handle success
fully. but lass voyanr in effect. are the
combinations Of blue and purrlish tones
Here again one finds all shadings. from
'he deep blri- and rich puppies To- the faint
est lavender and orchid tones with doll
cato blues and lovely color schemes are
achieved all along the line: hut perhaps
tho GreItcst triurphs in this connection
arc IN the blending Of the modish and
difficult cycla men shades. with soft dull
hl'Ic. from light 20 medium in tonn.
prScoil has turned out ono NJ the rno-'
aurce~-ful frocks w. have seen in thi@
cnlHring An exquisite shade Of blu"
satin is vailed with tunic 81 cyclamen
chiffon. embroidered in many tones 81
IN" blue and little very beautiful lace
of creamy ivory tint helps 20 blond the
two difficult cnlors. our artist hrs
skA,chcd this gown and With il another
quite a. charming. IL less subtle. n PaI'Iin
model in IN. white and black with which
that artist has obtained such admirable
results this season Crystal jet and fur
AL play n par in the trimming model.
which is built up chiefly in white chiffon:
and there IL touch of pink glowing
~ rough the chiffon folds M the corsr &c.
Obvious enough this coloring. hut tho
fr,cS mas not only charm but dIs, inct
Individuality. THANKS to its excellent
limos and lover detail. The crystal and
i"' owhrridorios are original in dies gn
and arrangement. and there mr.. varioua
r'her "ris.i,..i touches the one~idod effect
II tho bodice for example. On IN" right
I'd" only - big soft drap~d rever
embroidered in crysta, and lot and cross
ing tho front to lose itself untar tho fast
ruinE ornaT. ant Of the deem gir'!le. The
right ~laey" to" IL different from III" left
ono. vet thesc points are 30 skilfully
mad. that there - not a hint II the biZarr"
about the model I. is IN evening frock
any woman who could afford TO buy IL
might wear without feeling that she was
IN any way freakish or extreme.
Much gold and silver enter into the
evening gowns. usually with yelling 81
or chiffon. though tho metallic
ilccs and the bugl- and bead embroi-
G"ries are used too without yelling. An
de, often developed shows a foundation
r he 81 satin yelled in chiffon: over this
gold or silver lace and over the gold an
other yelling 81 tulle. moiselline or chiffon. !
With all these layers 81 expensive ma |
teral IN" prices of the frocks soar high |
but luckily not all m" modi-h evening /
frock~ call for four LAYERS Of stun
Tn" brocades. supple and beautiful /
In satin crepe. chiffon. velvet. &c. are |
"f'"l made up without yelling save. PEE