Evening star. [volume] (Washington, D.C.) 1854-1972, 1913-11-30

its modern prices, is quite an expensive
affair II INDUCED in with frequency.
women to dance unless they had unusual
social opportunities.
Whether one dances or remains seat
ed at small supper table, ones gown
is much in evidence, and one can hear
whispers Of approval or disapproval. The
clothes as to dance. and the observer Is
thoroughly interested over the various
kinds OF costumes which the women
adopt.
with a half-low evening gown; others are
English, with low evening gown and
an uncovered head, and many are what
the rest Of the world calls American.
which means a coat and skirt with
fancy blouse This. of all costumes. Is
the most unsuitable for any hour spent
at any place after o'clock. but there
are many Americans who will not wear
anything else. That, however, Is too long
subject to discuss here.
There was a gown worn by a girl who
was either French or Spanish and it was
charming new type of frock for the
women who have pretty arms. 1t was
of white satin. the skirt slightly draped
In overskirt effect, with a lower skirt
that was quite narrow and plain, but
slashed up the middle OF the back, to
give freedom for dancing. All of this
slash was concealed by the dropping up
per skirt. except for two inches at the
hem. A good idea, is 1t not? There
is nothing pretty, you see, about a plain
ly slashed skirt, and. realizing this, the
artistic dressmakers are endeavoring to
find some way in which the opening can
be used, but covered. This skirt was an
done.
But it was not the skirt SO much as
the bodice that attracted my attention.
1t was loose, cut high in the neck at the
back, opened in slight in front. and
was without sleeves. Each armhole was
filled in with a narrow ruffle Of lace, and
from them came beautiful pair of white
arms, ending In well cared-for hands, I'M
covered by gloves and untouched by
jewels.
This attractive white satin gown was
pleasantly reminiscent of the one that
a fascinating French beauty wore one
night in the baccarat rooms of the Deau-
vile Casino.
The difference was that she fastened
her short little satin bodice down the
middle of the back with white satin
buttons. and topped her couture with
Lewis hat of black velvet that rested on
the left ear and was well rolled back on
the left side to show her unruly ripping
brown hair. what a fetching race She
has, that girl whom Sem, the caricatu
rist loves to draw without caricaturing
her! But that is neither here nor there.
Back to her compatriot-for she was
surely French-with the long white arms
and the high white gown at the Cafe de
Paris.
After we had taken in all the details
Of the costume, we turned our attention
to her blue-black hair, which was ar
ranged in the manner adopted by the
mannequins in Paris last September. and
which was sufficient proof of it's fashion.
These French mannequins are always the
shadows cast by coming events, and IL
one watches them well one will feel in
touch with any new fashion that is
sprung three months afterward.
This girls couture was interesting be-
cause it was fully five inches high. The
hair was drawn down over the ears
and along level line between the ears
and the nape of the neck, then the two
long ends were rolled upward in a
French twist ending in a huge Psyche
knot. arranged little above the crown
Of the head and pulled out to stand five
inches from the scalp. The sketch shows
the hat made fashionable by the French
beauty at Deauville.