Evening star. [volume] (Washington, D.C.) 1854-1972, 1919-10-19
ger Skirts and Higher Collars for Paris

nyt puxslins choice to make be-
tween the houses IL one wants 10 buy.
There is the knec-length coat with
its fare from the hips AZ the sides
and. its moderately Wide and long
hem; the high collar Of cloth or pei
try. the long sleeves with more or
less exaggeratedly wide cuffs. THAT
10 the movement. repeated and re-
peated, even II diversified.
The high note at this housc Is
reached In black velvet evening
gowns and metallic and satin tea
gowns. One black gown. called Der
Mere Heure" has all the Worth dis
tinction which makes him a creator
for certain typo Of dignifed woman
and puts him above every one else
in that line. The skirt Is somewhat
short In front, long in the back with
small square train. with a series
Of loops At one side below the waist
line and on the other . wide bow
standing straight out from the hip;
this arrangement Is in Difference TO
the fashion for hip dist tension. There
IL large wheel Of blue beads high
on one hip and low on the other. Tho
bodice is merely q straight piece cf
velvet. going under the arms and
held up with two shoulder straps.
The other black velvet gown has a
more decorative bodice with a ".
shaped point in front OF the rhine-
stones for which the house is famous,
and shoulder straps Of bright blue
beads which drop below the waist in
the back with dangling ends Of
rhinestones. 1t is called lie Courts
san" The most striking of the day
frocks is called Filipino" It is in
black satin and blue serge, the lat-
ter used as a ong-waisted bodice
with immense black and white silk
Pierrot collar which runs nearly to
the waist. The serge is used for the
skirt. knife pleated to blouse Of
satin. and is arranged in open loop.
at each side to give width without
crinoline. The long sleeves are open
at the wrist. and below the opening
is bracelet cuff Of the satin bound
with white like the huge Picrrot
ruffie in front. Worth also had re-
markedly lovely tea gown in the
sweeping line one associates with
Trilby. The foundation was of SAL
mon satin, gold touched, and the long
overdrapery was OF gold mesh net.
A girdle of large dull-colored roses
encircled low waistline. 1t had
sufficient dignity. this gown, to be
used as an informal dinner frock.
1t was the opinion Of several buy
ers that the house OF Doucet outdid
itself this season. The fabrics were
OF great value, the accessories were
expensive the number Of gowns
shown was large. The sensational
element was not lacking, and as one
has never learned to expect this from
Doucet, the shock was the stronger.
He presented two evening frocks that
were far more startling than any
thing shown elsewhere.
The first was in mauve-colored
tulle and taiYeta. the former as an
underslip. the latter as a girdle and
butterfly overskirt. We have be-
come accustomed to the sight of
bare legs. but not to the. spectacle
of transparent frock dropped over
a figure which was bare except for
pair of acrobats flesh colored silk
trunks. The young mannequin's legs
showed quite plainly Through the
mauve tulle slip from the thighs to
ankles. AS she was young, sturdy,
pink and white the effect was not
slnuous. The overskirt Of taffeta was
cut to a deep point. front and back.
and lifted high on the sides as though
one had merely pulled the stiff fabric
out into butterfly wings. Beneath
these wings, joining them. and OUT
lining the edge of the SILK trunks
was a band of large roses on each
side. The bodice was merely a bit
of mauve tulle above a taffeta girdle.
The manneQuin wore white satin
slippers laced with what we call tam
&C ribbons up to the curve of the leg.
The other frock Of sensational
character was Of black and white
tulIe. the white predominating. This
skirt was translucent, not transpar-
emit, but the bodice was omitted. Two
slender strips Of white tulle, petal
shaped, rose above the black jet belt.
stopped halfway to the shoulder and
into jet strands that contin-
ued over the shoulder to the belt in
the back. Doucet is said to be H.
most ardent student and admirer Of
the eighteenth century. but surely he
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