Evening star. [volume] (Washington, D.C.) 1854-1972, 1915-09-09
LIGHT BLUE PLATED CHIFFON
WITH COAT OF SULPHUR COL
OREp EMBROIDERY

L.
with the fashion for the transparent
coat. One of the newest models for a
dinner gown shows a coat of sulphur
colored embroidery over a knife
pleated slip of pale blue chiffon.
This frock is more suitable for in
formal entertaining at home than it is
or the theater, or dances, or large
inner parties.
fashions is interesting. Five years ago
these coats were projected by Cabot
and Paul Poiret- They were definitely
oriental and were reminiscent of the
bazaars in Indian towns. They were
cleaner than the ones worn by the
dancing girls there, and far more ex-
pensive. but their origin was strongly
suggested. The first one worn over in
America created something of SEN
sation; the young matron in New York
who launched it was oriental i'll type
and the designer had succeeded in
bringing out the darkness OF her face
and the sinuous movements of her
body. From this fashion came one Of
wearing in the afternoon gayly colored
transparent chiffon coats over muslin
frocks. One woman who always ex-
plotted the smart fashion of the races
in Paris began this fashion in America
race meets a coat of Vatican purple
embroidered in silver and cut steel
over a gown of pale gray chiffon.
The fashion speedily wore itself out
and women wondered why it never re-
turned. for it was graceful way of
giving long lines to the figure: this
Summer 1t came in unheralded, and it
twas not adopted over here. But the
J. rench have persisted in the idea and
so eastern embroidery in lavish form
has come back for use in loose coats
that drop over simple evening gowns.
Cal1ot Likes These Coats.
Throughout the changing seasons the
house of Callot has maintained a par
TALLY for this kind of drapery. There
has always been a strong element of
the oriental in everything that ema-
mates from the brains of these three
sisters who sit in mysterious silence
with spindle and thread and shears
clipping and sewing the garments that
decide so much of the ia shion and com
merce in womans apparel.
Rarely has the house of Cabot laid
emphasis upon the normal waist line
IL such II dividing point in the anatomy
Was omitted, il was draped in such a
manner that il lost its boldness. Fheth-
RI or not this house has been respon-
si5ie for the influx of draperies that
hide the curves of the figure from bust
to hips is questioned. but the interest
ing fact remains that all the strenuous
efforts made toward Victorianism have
not abolished that method of draping
the figure, and it looks as though the
new models will place it back on a
pedestal.
The coat which is shown in this
sketch is of net. strong enough to hold
metal and silk embroidery. This type
Cf handwork is to predominant in our
clothes this winter, and this gracefully
arranged coat is only one of the evil
dences- IT falls in a cascade from
shoulders to knees in that peculiar man
ner that the house of Callot mastered
many years ago. 1t used to be done
ctr
u trade mark of this house that one
says "Callot' as soon as it comes into
view. One says the same about a mar
row evening skirt which has a train
like an alligators tail, and which CAL
lot still advocates, despite the passion