The Bridgeport evening farmer., 1911-03-22

employed by the Greek maidens in ad- juSt1ng their robes. This ribbon ar
 rangement could be temporarily ad- juSted, so several different colOrs could
 be worn to match different gowns. The stocks most in evidence for such blouses if not of the material are Of black or black combined with white One especially trtg model, decided innovation, after our several seasons Of all white neck-gear, was recently seen az one or the Balalaika concerts, on a little French woman, obviously just over. It was of black moife with a. little turn over of luscious creamy satin. A tiny, square, stiff little bow held in place fall of rich creamy lace. The creaminess of the materials used was an especially good feature. as few faces can stand the contrast of pure white against the skin. while deep cream often enhances an other wise hopelessly muddy complexion The hats worn with the mid-season gowns do not vary greatly from the winters models, except in the material, which is often of chenille or soft felt braid of various tones and colors, braided in together. Many of these are of light tones, cut mostly of sombre colors to match the suit. ss Some interesting deyelopmentS of front and back breadths, which have
 usually been quite unadorned, are be-. l ing shown this spring In addition to being a pleasing and novel change they lend themselves admirably to the remodeled gown, which often has a worn front breadth or a frayed back. breadth. Examples of these are shown in the second figure in the drawing, the front being an apparent elongation
 of the little Eton-like coat. For the
 frayed back panel a band may be
 added as in the fourth illustration, a
 corresponding band being added to the coat.
 A very up-to-date model could be made from a last seasons princess broadcloth gown, similar to that shown on the figure at the extreme left. This model was of golden broad cloth which was given a most trig appearance by the addition of fiat silk braid of deep tobacco brown. This was applied to all the edges with a firmerR braiding just inside of sou
 tache of 8 lighter creamy shade. The a narrow frilling of deep cream lace edge to match the lace of the little neckpiece. The next model was of a deep shade of lavender velyeteen, all most a pansy shade, that just escaped being half mourning. The bands and velvet, and the decoration on the sleeve consisted of a triangular piece of the velvet, bordered by three of the little l buttons on either edge. The novel | feature of this was the underarm piece and sleeve being cut in one, while the l back also is most unique and be- 1 coming, being cut in two pieces. the shape of which is quite clearly de-
 picted.
 The gown in the foreground was of black velvet, with hugh white revers, whose sole ornamentation consisted of the huge ivory buttons. A narrow, little, long, tapering over collar of
 black satin relieved the whiteness of the large collar against the face and gave proper balance, and the shaped cuff held in place by the ivory but tons finished the elbow sleeves. The skirt was quite plain except for the irregular piece of velvet which was seemingly buttoned on to the front breadth by five buttons.
 One of the prettiest and most ba-
 coming models yet shown is illustrated in the second drawing. The back was especially good, the back of the coat and skirt fitting very smoothly, but perfectly loose, the simplicity of 1t
 being emphasized by a long row of
 crocheted buttons.
 A beautifully slender effect was af- forded by the combining of the front panel of the skirt with the front of the little coat, being all cut in one The coat was finished with a shaped, fat-laying collar of a lighter shade of
 satin than the material used in the gown itself and was overlapped by moderately wide revers of moire, the same shade as thesgown. The sleeves were severely plain, but beautifully fitted. This model was developed il:
 gray etanine. The gown in the firsf,
 drawing was of navy blue serge, band ed in black with black silk braidings