Arizona republican., 1912-12-08
LATEST FASHIONS
 FROM METROPOLIS
(Florence Fairbanks)

Ing or the Oparltlc season, has gwen ] ample opportunity to study the pres ent types of evening costumes as worn at the opera, the theatre and at 1 various other public and social func- tions. One of the most striking 1 features seems to be the great vogue of costumes in combination of white and silver and white and crystal
 The white frOcks vary greatly in character some of the handsomest are in white and silver brocade trim med with white silver lace and fur. One stunning frock seen the other night was of white velvet brOCade on silver foundation, an amazingly supple material draped in clinging lines and showing a pettcoat of fine lace where the narrow p0iuted train dragged away from tue ai, sled sides The bc6ire was almost entirely of the fine lace laid over flesh color tulle, but the sleeves were mere wisps of silver tulle
 Crystal trimming. or at least cry stal in the popular form of brilliants set on in single lines or in chains, is more often used upon the tOilettes of young women than upon the elabOr- ate costumes of maturer matrOns. The brilliants used in motifs of loose chain effects are at their best made double. That is, two briliants are set together back to back and the result is a greatly enhanced effec- tiveness. Embroideries of tiny cry Stal bugles are used extensively Net bands and trimmings of crystal beads are also popular and one sees some crystal fringes. although only occa- sionally
 The crystal beaded tulle which both in white and in black is well liked. figures very considerably in one way or another among the opera frocks Most often the black and white are combined after the fashions exploited by Worth and Drecoll and there are some handsome and practical frocks in which the drapery and train are of black velvet embossed or silver gauge or black chiffon while the un- derskrt is of the thickly beaded tule. black or white or black and white
 Perhaps the most distinctive fea- 1 ture of the new evening frocks, aside from occasional vagaries of skirt draperies and train, is the free use of flowing sleeve draperies, akin to the angel sleeves of olden times. This | idea is developed in innumerable ways
 but all have more or less the same | effect. and the effect is usually a | charming one, though occasionally | the designer bungles the thing and achieves a sleeve drapery quite out l of tune with the other lines of the 1 frock
 Often this so-called sleeve drapery
 covers the front of the arm not at 1 all or merely lies like a soft shadow
 across the shoulder point and a few
 inches of the arm below it, but back of the shoulder line the lace or tulle 1 falls gracefully. forming a back ! ground for the arm and giving long, gracious lines to the back of the frock. Sometimes it descends only
 to the girdle sometimes it falls al-
 most to the floor or looses itself in
 some clever way among the skirt draperies.
 The idea of sleeves contrasting in material is not new this season. but one finds new expressions of it in
 some of the opera gowns. One beau
 tiful gown of black velvet and rare
 old lace, for example, had the left
 side of the bodice and close short
 sleeve of the lace plainly and cinginly
 fitted, while on the right side the vel
 vet ran up diagonally to a point from
 under which rose a drapery of black
 tuIle that crossed the shoulder and fell in a loose flowing drapery over
 the arm This drapery was bOrdcred by single line of brlliants. A
 great rose of black velvet with bril-
 liant crest was posed on the corsage where velvet and black tulle met. The very general use of the trans parent bodice has made necessary all sorts of versions of the bib skirt con tinuation A bodice of color and texture contrasting with the skirt the line of demarcation being directly
 at the waist line or even at a high
 girdle top is distinctly ungraceful and [, nartistic.
 Broad black panels are extensively used on dresses made of heavy weigh materials. The skirt of the dress. model often shows a drapery sugges ton. These skirts have crossove ! drapery tapering off to the back ] where it is slightly caught mp ant . brought under the back panel neal . i tilc Shllt 6u6t
 Other models have broad pane !. effect in the back. the skirts having ! pleated inserts at the side or the sug ! gestion of drapery produced by al ! arrangement of pleats in the sid ! front seam and effected by draWin, up the heightened skirt. The side {l of these models are plain and finishes { off at the back with a panel arrange
 ment.
 Some panels are pleated. The |, generally run all the same way in { stead of being reversed toward tn { center. They appear in the bac { or front. and in some cases in l panel effect on one side of the sllir ! Gathered panels are also used, bu ! in every case this section is stitche ] to the skirt all the way down. Tn panel finish is more becoming to tf - average figure than the perfectl
 plain back, and it also makes a dc
 srable finish when the drapery ! of a material contrasting with u dress fabrics, as the panel of sell { material makes a good finish for tf { drapery at each side.
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