Evening star., 1913-11-13
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OF these snaps shows. and they are SO
posed that when the train is fastened
| up the effect is that Of drapery which
| clears the floor.
| gowns with trains that they do not wish
to alter for an occasional dance, and this
suggestion may be of value.
| The taffeta for which the French
showed a preference in September and
/ October Is the least popular fabric for
| dance gowns here. Women distrust this
weave of silk because it cracks and splits
| easily, they say, but smart women who
| like to dress in a manner different than
| their ne,ghbors have taken 1t up instead
of satin.
/ One of the women dining at a New
| York restaurant wore gown of white
| taffeta that had a narrow plain skirt
shorter in front than in back, Slashed
| open In the middle with Tapped rounded
edges. There We're three deep plaitings
| of white tulle that stood out from the
| figure over the hips. the first one of
which sprang from the lower edge of
deep loose girdle of black panne velvet.
| The bodice above this girdle was of white
! tulle lined with white taffeta-if one can
| call the slight band around the figure
lining
The sleeves were almosJtight and reach
ed to the wrists where they were finished
with deep ruff1es. The high collar was Of
lace rolled back from the face and slop-
ed to points on each side of the deep
QeCOlielaS0 IN front. Below lnlS, illlo
the black velvet girdle, was thrust a
huge crimson satin rose with green
leaves. The slippers worn with this
VIII te gown. were of black velvet with
white silk stockings.
And, by the way. among all those
restaurant ballroom the black velvet and
satin slippers worn with white stockings
outnumbered the others.
When the gowns esof dark colors
%ha or ,,ata on hn SiinpnrS Ta III
ly. But it is evident that If one w.shes
to indulge in a smart touch. the black
velvet slipper is the thing to be worn
with the white dance gown. 1t is bit
of economy that every woman will APP
preciate.
Skirt of the Day.
The skirt that rules the day, night,
rather, is cut off at the ankles. With
a decided lift in front which is made by
running plaits or folds across the front
gore at or above the knee line. There
is sufficient fullnesS in each of these
skirts TO allow one to dance gracefully.
The tunic is always a modified m1naret
and is not held out by a reed. %.
There was one black satin gown worn
the other night which was cut with
deep yoke to fit the hips. then a deep
fiounce which dropped to the ankles and
was caught up in front to give fullness
between the knees which IS necessary
feature of all the skirts over the yoke
was deep tunc of black tulle cut in
scallops at the hem, which were out
lined and weighted down by three-lnch
band of cut steel beads run on black
velvet ribbon.
The blouse was of tulle drawn loosely
over a lining of black satin. 1t reached
to the neck at back and was cut out in
wide panel in front. The high collar
was Of cut steel on velvet with a stand
ing ruche of white tulle, and the fronts
were fin shed with a deep point at back
and another band of the velvet ribbon
closely sewn with steel beads in straight
rows.
The only touch of color on the gown
was a deep sash of fuchsia red panne
velvet
Many White Gowns.
The popularity Of the white gown with
touch of color somewhere at the waist
is what one notices most. Five out of
seven gowns worn by the women who
are dancing are made of white embossed
crepe de chine and a heavy quality OF
sat n panne velvet. French taffeta or
net These materials were combined or
used singly.