Evening star. [volume] (Washington, D.C.) 1854-1972, 1916-10-08
BY ANNE RITTENHoUsE.

E1HE French practice of showing
the new gowns on the most al
Turing n1annequns that can be
found has gained strength in
this country to such an extent that the
women now demand it.
There is all the difference in the
world in seeing a gown in the hand
and on the active figure of a woman
who discloses its virtues and defects as
she walks and gestures. You may not
perhaps be able to look like the man
nequins. but there is always a secret
belief in the heart of the humblest that
she really look like them if she
tries
The moment the French gowns ar
rived the openings began. and those
who were privileged to see them were
divided INTO several classes. Those of
US who saw them first got them wrir-
killed. from the long voyage in the salt
air. but. instead of complaining. one
felt thrill of satisfaction over this
fact 1t procla lined their excessive
newnesS. as Cobwebs on a wine bottle
proclaim it's excessive age The cpl
cure delights in both conditions-in
the wrinkles and in the cobwebs.
Without trying to incorporate the
best of these gowns i'll 4 narrative
story, am going briefly to outline each
one, in order that any reader can get a
quick survey of the field and know
what was shown in its wrinkled coudi-
ton. The sketches of many of these
gowns will follow later. but the hat
that are worn with them, representing
Ia Ct n mil
are given today, for. as every woman
knows. the choice of millinery pre-
cedes the choice of other apparel when
the autumn buying begins.
One of the best gowns from the
house of Callot is called Vision, and is
built of amethyst velvet. with Grecian
bodice girdled with a narrow band of
gold braid, a scarlet flower is placed
at the side of the waist The tulle
over one shoulder hangs across. the
back and follows the long, pointed
train. The skirt is very short in front
and the train reaches out from the side.
An already famous gown resembles
a mummy case. 1t is called ChrysiS.
The front is straight panel. with the
bodice part of black chiffon, and the
rest of black satin thickly embroidered
with metal threads and green beads in
blocks. \ box pleat of satin at the
back is also embroidered. A gray one
=
Sacre Ecu. The bodice is of net en-
broidered in oxidized silver. with a
panel of the same down back and front.
\ gray tulle cape goes over the Shout
ders and begins at the middle of the
neck in the back under a small, narrow
cravat of fire-colored velvet ribbon, the
ends dropping to the knees. Around
the waist is narrow belt of the same.
One evening gown is called Pecher-
esse. 1t is of yellow velvet, with gold
n ia
the arm coming through the center and
the back forming a kind of cape The
skirt is cut on straight line from the
bust. nipped in a little at the waist.
There is a tiny row of gold lace inser-
ton running around the figure at the
knees.
The moment the buyers arrived in
Paris they saw that Bulloz was going
to make a sensation. In way, this
house took its pattern after Callot. but
it has done brilliant things, and there
is a feeling among the experts that
the lines of Bulloz will lead in a few
weeks among the really smartly
dressed. exclusive set.
A frock called Empress Josephine is
of black velvet made in a straight line
from the bust, with pointed ornament
of green and silver in front and back.
a little to one side. The skirt is mar
row. with a long train. and the small
sleeves are of black tulle. There is an
unlined band of gold lace below the
hem. The skirt is longer at the right
side and is laid in pleats at the hips.
Another. called Incarnation. is of sill
yer and gold brocade, with brilliant
rhinestone ornament in the front with
a blue medallion in it's middle. The
train is made by sewing a width across
a long wasted line in the back, the
fuliness forming the train.
There is also a jade green brocade
gown with stamped silver flowers that
are very vague in outline. 1t is called
Lucrece There are two straight panels
In front and back, also long train and