Evening star. [volume] (Washington, D.C.) 1854-1972, 1913-11-09

lucent. II has Turkish skirt which Is
laid into side pleats at the belt. with it's
fullness drawn in from sides to front al
the ankles and held there with rows of
blue and white silk buttons. There is a
| five-inch belt of blue and white Bayadere
silk, on which are soutached fiat roses of
red silk cord.
| The sleeves are gathered to the front
| ard back on a bias line that extends from
waist to neck. The fullness falls to the
wrist, where 1t Is held in by tight cuff
| fastened with of blue silk buttons
and finished with fiounce that falls over
the knuckles. The half-high neck is fin
iished with turnover collar to match the
belt.
| One dinner gown that shows a COM
bination of brilliant colors is of deep pur
pie panne velvet with a lining of dull
orange satin. The skirt is caught up in
front and drops well the floor in the
back in the shape of rounded train.
This shows the lining in most effective
combining colors.
! The bodice Is partly Of velvet, and is cut
after the manner of the new shirt waists
which drop off the figure into negligent
lines; the long pointed sleeves that fall
away from the arms are of violet tulle
and weighted with tassels of amethysts.
Remember. the only touch of orange that
shows is at the foot line.
! 1t would not be surprising to this
| idea carried out with more frequency as
the winter advances. There is no sign
| of decline in the narrow skirt which is
opened in front and it gives every oppor-
tunity for displaying a brilliant splash Of
color that adds brilliancy to somber win
ter apparel.
| *
There is no necessity for using such
gorgeous tones as orange or red If one is
not inclined to color gayety by taste or
nature. but the conjunction of dark pur-
pie and blue, of black and gray and of
gray and black stripes with black Is to
be considered without a biased mind.
There is another new idea of having a
cuff turned up on the edge of a coat as it
was turned UP on the edge of skirt all
summer, and this gives yet another oppor-
tunity for the display of bright tones.
| The cuff is nothing more or less than a
! hem which is pressed upward on the out
side, but not stitched. Every tailor does
not know how to accomplish this, but it is
| a trick that is easily learned If one has
| the wish to do 1t.
The trouble with many of our tailors is
their lack of ingenuity. and the same can
| be said of some dressmakers. They can
/ iiOt, VI VIII flot depdit the IOuti
which has been made In Paris or copied
| and sent out from the wholesalers In
| America.
/ watched a woman work, unsuccess-
| fully. for half an hour with a leading tai
| Tor in great city to get him to put a
cuff on the hem of the coat and slightly to
alter the shape of fur collar which was
unbecoming. These features were not on
the model therefore she could not have
them, was the answer
Possibly the tailor was right in not at
tempting what he was not quite sure he
could do. but one woman's experience is
repeated over and over in this country
until one wonders how there can be any
hope for nation of designers.
There must always be something to fol.
low. either French model or another
woman's gown. or a picture, and Sug
gestion that these should be changed to
suit the person that is to wear the gown
is met with doubt and dismay, and often
ends in failure.
The sdressmakers have come to the con-
clusion that it is better to arrange some
plan by which the fullness at the waist
line which is a feature of todays frocks
can be managed. for 1t Is quite evident
that all women will not wear it in its
present state.
There were several clever ways of do
Ing this in Paris before l left. You ma;
be interested in them, for you will assur !
eddy struggle with the problem.
Poiret utilized the same idea, which he |
worked out in the costumes for his Per-
sian ballet called lie Minaret"; here the !
gathers were pulled into the waist line by |
two belts; in the play these belts were |
jeweled but on cloth or velvet skirts they
were made of suede.
Callot uses broad belt of suede or