The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-04

determined--can do. even in Paris.
find myself reminded of this at
the present moment by the growing
popularity OF pleatcd skirts and founces.
Several months ago Redfern created
a. number of costumes in which pleats
Mayed an important part. He even
made q specially vi pleated skirts. aud
that at the moment when Paris was
filled with enthusiasm over ultra
row slashed skirts which clearly defined
the lower limbs. In the inner circles OF
smart Paris there was "A tumult. Onc
Of the best known dressmakers in the
Isue dc Ia raiX deoiai"d emphaticaiiy
that she would have nothing to do with
''those horrible pleated skirts" She. on
her part, created wonderful gowns
which swathcd the lower limbs and eN
traordnary skirts which were slashed
at one side and twisted into pannier folds |
at the other. 1t was a miniature war
OF "ligne."
But Redfern continued on the course
which ne had deliberately chosen. He
WAS going to Introduce pleats-let the
other drcssniakcrs do what seemed hest
to them. And so II has come about that
p1eats have quietly stolen back into
favor: and their advent has sounded the
knell Of the slash.d skirt. which wa :
always inartistic and rarely even smart. |
Only recently. when they revived La |
Marche Nuptiaic" at the Coincide Fran
caise Redfern gave further proof OF his |
devotion to pleated huunces and skirts. !
Mile. Pierat wears in this piece several
charming gowns in which the much dis |
cussed pleats are in evidence. One of
tscse gowns is set in fiat, pleats from
whist to hem. The material IL black |
charmcuse and the corsago is finished
With folded fichu of the same material
a. the skirt. !
A second gown. for dinner wear, Is
trimmed with pleated drapcry which |
is arranged in tunic fashion The pleated
material falls in graceful waterfall at
one side and is confined at the waist by
aisupple sash of parma violet chiffon
velvet. Even in Redfern's draped satin
skirts We ind an indication of pleatinss
Underneath. these pleatings showing d.
rectly in front. where the skirt is cut up !
In a point and giving very graceful
appearance to the feet.
1T is interesting to note that the re-
vtval of pleatcd skirts marches side by
slle with a revival of dra ped skirts which
recall the quaint IA shions of 1SS0-S2. on
looking over collection of photographs
taken thirty years ago I was struck
by the similarity of the fashions of then
and now.
in many cases the outline was prac-
tieally the same. the new high totues
being almost exact copies of the three
decker hat worn in the days when Mrs.
Langtry originated the idea OF profess
siOnal beauties. If one may place con-
fidenCe in the camera the styles of 1880
So We're extraordinarily like the ad-
4 4.
BILE difference. and that is the size of
the waist. Thirty years ago it was
quite an ordinary thing for beautiful
women of broad shoulders and full busts
to. boast of wearing nineteen inch COR
sets! What would be thought of the
woman who appeared in an hour glass
waist at the present moment? We
must never say that we are not bor-
rowing wisdom from the passing years.
Il have sketched this week an after
noon gown which deserves the title OF
artistic creation. The original model
was created for Princess Rad2wili. who
was Miss Dorothy Deacon before her
marriage. The Princess IL u great favor
lite with the Partisan dressmalers. for
she Is as witty az she Is pretty. and this
III y combination of qualities that makes
. strong appeal to artists of all kinds.
OF lizard green chiffon velvet and shot
Gauze which showed shades of green
violet and duh silver The skirt was
cleverly draped ana 1t had narrow
train which gave "a fish,ail effect when
It's wearer walked. The gauze tunic
was bordered with black fox and the
same fur in narrow bands appeared on
the picturesque corsage.
"A novel feature of this model was
the frill which forms q sort of cein-
ture. / have noticed these frills on
several Of the latest and most original
models, and on q slender figure such as
that OF Princess Radziwill the effect is
good.
For afternoon wear chiffon velvet
skirts such as that shown in this sketch
will be one Of the leading features of
the early spring season. These supple
velvets are made in all the new strong
shades, such as carmine. Bordeaux.
fuchsia, tangerine. &c, At the present
moment the Parisiennes are wearing
such skirts as these in conjunction with
picturesque Coates made of black
breitschwanz and with blouses composed
of embroidered linen finished off with.
efmine collars and cuffs.
This latter blouse Is the very smartcst
novelty Of the holiday season In form
II iS loose and vague, but the fine white
linen Is 10 supple that it folds itself
about the form; IL is opened in deep
v at the neck and finished with a turn
over collar of ermine. slightly raised at
the back. Such collar is thrown over
the coat after the manner Of ordinary
linen collars.
The regal looking antle shown In my
second drawing was created in Paris for
the Princess Amedee de Broglie. The
latter has always remained faithful to
what may he called the royal style
That is to say, she has never accepted
fashions which are merely smart
neither has she gone to the theatres for
fresh ideas. She Is one Of the select
circle OF souls which used to be pre-,
sided over by her sister. the Comtesse
~ Tredern, and which continues to
exercise strong, II subtle, influence
upon the world Of dress In Paris,
The mantle shown In my sketch is
original az II Is beautiful. The leading
material is ivory white chiffon velvet
md very novel note Is struck by the
large sleeve entirely composed Of hand