Evening star. [volume] (Washington, D.C.) 1854-1972, 1910-10-15

ravens wing hlue-a rich blue, almost
black in the shadows-is particularly
smart. Black and white. combined with
gray, however, is the ultTa-smart not on.
ard some of the French frocks show as
many as six grayS blended with master
ly effect.
A clever blouse designed for wear
with a black cloth coat and skirt suit is
of black pin-tucked chiffon over a lining
of striped gray and white silk. the stripes
being exactly the width of the pin tucks.
The silk Is placed crosSwise, so that the
combination of horizontal gray stripes
and chiffon pin tucks produce an elusive
check pattern that is very unusual.
Touches of silver lace around the low
neck and on the sleeves add the finishing
over a yoke and short cuffs of fine
white calais lace.
A beautiful frock in three shades of
gray is illustrated. Over a skirt of pale
gray crepe de chine falls a tunic of
smoke gray chiffon, on which is embroid-
cred a border design in a gray tone be-
tween the shades of chiffon and crepe
de chine. This chiffon tunic is cut very
simply, in straight lengths, the material
being drawn in to At the figure under
ornamental buttons of steel and gun
metal at back and front of the waist
line. The sleeves are of puffed gray
chiffon with cuffs of silver lace, and the
only touch OF color appears IN the little
square yoke. which is of the gray chif-
fon laid over Persian chiffon in pale
coral tints.
|. The notion of one vivid dash of color
In the somber frock is immensely chic
and this color note is usually placed near
the top. of the gown. just beneath the
chin, where, as a great dressmaker as
serts. interest in the whole costume
centers. A black velvet gown, worn at
the Plaza the other afternoon during tea
hour swept from neck to ankle unbroken
by any color, broad girdle Of black
satin joining the, simple peasant bodice
and straight. beautifully hanging skirt.
Just beneath the chin, set in the bodice
below the tiny roundabout guimpe of
cream lace, was a queeFly shaped motif
OF brilliant orange embroidery sewed
with yellow topaz. and this vivid touch
of yellow in the otherwise somber gown
was most striking
Another little frock. worn at the same
table. was also of black velvet and was
more girlish. if less regal in style. The
short. straight skirt was banded at about
knee depth, by nine or ten-inch bias
strip Of the velvet. piped on either edge
with old blue satin. The strip of velvet
was in four sections, each overlapping
the other in pointed tab. piped all
around with the blue and fastened. down
straight girdle at the waist line was
also piped with the blue satin anc two
inch bands of it encircled the loose peas
ant sleeves. which fell over under
sleeves of white tucked net. This band
OF color on the sleeve was set midway
between shoulder and elbow and at the
elbow was the inevitable border of skunk
fur-in this case merely a delicate fringe
of the pelt sewed IN the edge of the
loose velvet sleeve.
The new embroideries are gorgeous
and come in wonderful Russian, orien-
tai and antique pattern. Never have
such trimmings been seen in the shops
and the motifs and bands are usually so
arranged that they may be cut apart
and placed in all sorts Of ways On the
gown. Silks, beads, metal threads and
motifs of lace make up these stunning
embroderies, and the colOrs in subdued
oriental tones are rich and beautiful,
without any suggestion of tawdr1ness
For the evening frocks there are gold
and silver laces In fiounce and panel eff
fects and all-over nets and gold and sill
yer crocheted by hand An opera gown,
ordered from the Callots for wear on the
opening night at the Metropolitan next
month is of palest shell pink satin. with a
wide panel of gold embroidery on cream
net from the decolletage to hem. Similar
panels of the embroidery go around the
skirt from the center panel. and slope
slightly downward toward the back, bands
of brown marten fur outlining the edges
of these embroidered sections. From
under the arms on either side of the
gown start lengths Of lavender chiffon,
confined at the waist by a wide girdle
of pink satin, and caught again at the
ankle under ornaments of dull gold. The
decolletage is very low, but a layer Of
thin fesh-colored chiffon reaches up al
most to the collar line. little of the
gold embroidery outlining the edge of
this high guimpe Women with over-thin
necks often have these very sheer
guimpes put in very low corsages. The
layer of flesh-colored chiffon gauze
does not show at little distance. yet
the bad points of Q scrawny neck are
entirely hidden.