The Topeka state journal. [volume] (Topeka, Kansas) 1892-1980, 1911-10-07
Sleeves That Differ in Material and Color
Fringes in All Widths and Shades Now
the Fad = Towering Hats of Airy Stuff
and Corday Caps ofVeIvet andLace.

With the gown and wrap were dis
played gold slippers. a gold gauze fan
studded with turquoises, a gold and
turquoise couture band and a huge
fat reticule of gold lace slung on
a golden chain set with turquoises be-
tween the links.
While the new wraps are voluuni-
nous and roomy about the shoulders
they taper in toward the bottom, some
of the Partisan models being no wider
at the foot than the skirt underneath.
OF course it requires a master hand
to manage the material so that IT
is full at the top and scant at the
feet, and at the same time falls into
lines of grace. CaIIot makes ex
quisitely graceful wraps and all the
Callot models are loaded with gold
lace or embroidery. This house is
famed for its splendid and sumptuous
effects. A beautiful CaIlot wrap in
two shades of velvet is illustrated. c.
rise and magenta velvet are com
bined in this wrap in startling vet
brilliantly beautiful effect. The wrap
itself Is Of very soft mirror velvet
in the cerise shade. the sleeves and
a draped panel at the back being in
the rich magenta. The deep collar is
faced with a paler shade of pink
satin and is bordered all around with
a trimming of gold soutache braidine.
The sleeves of this wrap are a fea-
ture of the garment. They are very
long and full, the material extending
outward at the back and forming part
Of the graceful. draped panel. This
panel, at the feet is pleated under
so that the lower portion of the wrap
measures scarcely two yards around.
An East Indian Wrap by Martial
Armand.
Moro bd7,a6
nitely Oriental in type, is a graceful
wrap by Martial Armand. brought
over by a New York dressmaker for
a young woman recently married to
one of Americas millionaires. This
wrap is built of taupe broadcloth and
is tucked across the shoulders and
upper sleeve to give the effect of
deep cape or yoke. The lower part
of the wrap is straight and narrow.
The lining is of orange satin, and
there is a turnover collar at the neck
of orange colored velvet=just a hint
of brilliant color which brightens
the somber smoky shade of the wrap.
Inside this orange collar and follow
ing the slanting front opening is a
scarf or ffchu of pleated chiffon in
a yellowish brown shade which har-
monies with both the orange collar
and lining and the taupe broadcloth
of the wrap. The f1chu is knotted
under a dull gold buckle and falls
gracefully to the hip. With this wrap
is shown the inevitable reticule, made
in this case of orange silk richly en-
broidered with steel beads and small
gray silk roses, and hung on taupe
gray cord handles. The sleeves are
very wide at the bottoms feature of
many of the new French wraps de-
signed not so much for evening wear
as for limousine wear over bridge or
other afternoon costumes. There is
a growing tendency toward wider
sleeves, and this width Is provided for
in the new wraps. Usually the sleeve,
though being only a sleeve from a
front view of the wrap, forms at the
back part of graceful drapery which
falls from the shoulders.
Wraps For Bridge and Tea Wear
The tailored suit is no longer con-
sidered en- reggie for ceremonious
wear. Nobody would think of appear
ing at a formal tea at a luncheon
or bridge, in even an extremely costly
and handsome tailored broadcloth
suit A graceful frock of some sort
must be worn at such a function, and
over the frock is donned ones. fur
coat, or some sort OF loose. dressy