The San Francisco Call. Newspaper, March 14, 1897, Page 24

THE SAN FRANCISCO CALL, SUNDAY, MARCH 14, 1897. Plain and figured cashmere gown. The waist has & simulated bolero of the same cashmere embroidered. The sleeves correspond, and the lower part of the vest is also embroidered. Yoke, neckband and waist drapery of pale green satin. HE leading dressmakers and the principal firms of Paris are only now beginning to exhibit their ex- clusive models for spring, for all are in league not to let them be seen until quite the last moment, as the foreign buyers are on the qui vive for ideas, and will return home and endeavor to have the most chic and beautiful modes reproduced at lower figures, inferior fabrics will be util- ized, and such garments quickly become utterly commonplace, the: markets being flooded with them. Designs From Felix. Felix, however, has been allowing a few special correspondents to view some of his latest triumphants. One writes: “I have been able to see some of the ball dresses that Felix is making for the spring. They are of two kinds, either rich silks, miroir velvet, satin glace, moire, damas, all made with plain skirts, or else embroidery on the materials; the second series are of light material very much trimmed with small flounces, gauze, chiffon, embroidered tulle, fancy chins crepes, and white lace. The under skirts are.all trimmed underneath with ruches, plisses, flounces, and what not, forming a support to the edge of the dress. The skirts are close fitting at the top, and round for the light materials, and rather | longer for the silks and richer stuffs. All the bodice, very full and puffy at the top, | like a mass of gauze, tulle, lace, or flow- | ers, from which the shoulders and bust | appear. | “The waists are either pointed or round, ‘ and the low necks either round, square or pointed, and all laced at the back; the sleeves are short and much raised, often a different trimming on each. Felix orna- | ments many of these bodices with che- | ra<ques of lace, guipure, embroidered with | spanglee, gold, silver, colored beads, pearls, | diamonas, etc. These cherusques stand | up and out rather high round the back | and shoulders of the bodice. They seem | to start from a mass of lace, chiffon or | gavze. Asexample: A pink satin bodice, | made with a tight back, was draped in | front into a corselet; a large cherusque in | cream guipure, studded with diamonds, | starts in a point from the back, is high on | the shoulders and diminis' es towara the | corselet, all round the shoulders a quantity | | of silk, gauze and lace, with eight tults of | pale violets falling in the gauze; very short | sleeves of gauze and lace. The skirt was | plain and half long.” | Pink moire enters into the composition of a bodice, also the work of Felix. It fits closely, and the front is pointed. A: the | back of the waist isachou. Thesilk is | draped over the bust a 1a Madsme Sevigne, being arawn in with a diamond clasp in the middie. Below these soft folds is in- e g dery wroaght in silver, steel spangles and diamonds in black gauze. Of the same embroidery is a demi-cherusaue which starts from the back in a point and extends high over the shoulder, and ends at the corner of the arms. The short sleeves are made of a coquille of moire and a\frilling of pleated white net. The skirt hangs faulilessly, and is absolutely without ornamentation. But little imagi- nation is’ requisite to comprehend thi charms of such a creation. M An Ophelia Satin, Another conception is carried ont triumphantly in a rich Opbelia satin. The bodice, plain ia the back, is laced; bow finishes it. The frons terminates in & point, fits snugly and opens with two wide revers that extend to the waistline, being edged with a very fine narrow lace and diamond nail beads. Directly in the middle of the front is a bow. The sleeves are novel, as they are not at all alike. White bobbin-net coquille with a tuft of turquoise blue feather tips and orchids placed toward the front formed the right sleeve; the left sleeve is of bobbin-net and Ophelia ribbons. The skirt is plain, in- deed; so many of Felix's skirts are un- trimmed that it is to be hoped his ideas may have a restraining effect upon those who are now sadly overloading with flounces, ribbons, braid, etc., otherwise lovely skirts. Toilets at the Parigian Opera. The Comtiesse de Castries was gowned in rose Ophelia damas, over which were scattered innumerable paste diamonds ef wonderful brilliancy; the bodice, made in the Renaissance style, had a long point; the neck was bordered with beautiful large pearls, A pear! fastening caught up the short bouillonne sleeves. The skirt was long and plain. Pearls adorned the bair with an aigrette of white ostrich tips; the large fan was of the same feathers. The white silk stockings had an entre deux of white lace, and the shoes were of the same fabric as the dress; long ivory white kia gloves with a cuff of rare lace were held in place with a row of cheice pearls. A fascinating Marquise looked her pret- iest 1n a semi-trained skirt of satin glace nacre, pink and white, beautified with a tablier of rarest old Alencon lace edged with pink feathers powdered with dia- mond dust. The low-cut bodice had a round waist and was draped crosswise with soft folds. It was headed with a quilling of the Alencon lace and violets, The collarette spread out like a cherusque of diamond-worked lace. The sleeves were short ana of lace and violets, and the high marabout aigrette was fastened with abow of diamonds. Her empire fan of pink crepe sparkled with silver. The Countess de Bryas wore a silver- striped Nile-green brocade made with a demi-train and a low bodice having a double berthe of old lace, apparently held in place by the corselet or brocade. Mme. Losseline appeared in craquelle velvet glace of a silver finish. The entire skirt was spangled with silver and the low bodice, which was bordered with sa- | bie, was finished with a quantity of lace. The wide-folded cincture was of white {satin beautified with black and silver spangles. From the left shoulder to the right hip extended a cordon of blush roses. A Dinner Gown Worn last week by a handsome grand- mother is'of the most beautifu! quality of jet black satin. The skirt is completely vetled with pelissed chiffon in fan effect. The short round bodice is also covered with the cbiffon. Now thus far the de- the taste and wealth are concentrated on | troduced a long, pointed piece of embroi- { scription of the dress sounds rather unin- Ostrich plumes take bewitehing curves under the brim of this fine black straw hat, and pale green creps de Chine ribbon trims it. A huge black osprey and jet mereury wings give the ficishing touch. This fine black chip is turnzd up with & lining of green straw. Bows of trimming, black ribbon, many bunches of violets ana an osprey plume for teresting, 80 let us hasten to tell you that a great velvet girdle of a most exquisite shade of pink givesa lovely touch of color. The neck 1s cut round and displays a neck of great beauty, but the still rounded shapely arms were partially concealed by long mousquotaire. sleeves that extended to the knuckles of a snowy hand. Pink ostrich tips incréased the effectiveness of Spring blouse in the new striped silks. Surplice effects are the latest in these dainty models, looked charming, with every frill hemmeg with a narrow black velvet ribbon, the lining ol pale pink glace, with three frills on the hem treated in the same fashion, and a ruffle of the pink and blue frills finished it round the neck, where it was tied into pointed ends in a quaint, old- fashioned style.” . A Chic Organdy Of the sheerest quality has for a founda- tion a white taffeta slip. On the skirt are eight ruffles, each edged with black satin, which varies in width, as do the ruffles. The tout ensemble is charming, and col- ored ribbons are most successful when used in a similar manner. Zibelline promises to be fairly popular, and one such frock has the skirt made with “two box pleats on each side, one toward the front and one toward the back, and the blouse is in clusters of fine tucks running up and down and is open over a front of gray tulle spangled with steel. The blouse droops a little all round over a four inch wide belt, so that it has a little appliqued as bands put on crosswise. At the neck appears some rich lace, and this also is draped at one side of the vest. The lace is of a deep creamy hue. For an elderly matron has been designed a light gray mohair of a most superior quality, the plain silk-lined skirt measure in width four and a half yards, the full vest is com- posed of alternate stripes of black velvet and white lace insertion. The revers are edged with the velvet. Under the turnof the revers peep knife-pleated black and gray chiffon, one over the other. This arrangment of chiffon also falls over the bands. The aainty gray bonnet for this dress has a touch of black and white. “The Prodigal Father.” That bright littie play by our gifted countryman, Glen Macdonough, is now on the boards in London, and in it the lead-- ing actresses wear toilets from the famous Maison Jay, all of which are more than satisfactory. Oneis of pink crepe de chine, covered with a most lovely embroidery done in steel and nection with the perfect cut imparts an un- mistakable cachet to the entire dress. The hat worn with it isof a fine black straw, and has folds and loops of satin ribbon of reseda’ and white velvet and a cluster of black ostrich tips. Virot's Bicycle Hats, That greatartist hasreaily condescended to design appropriate hats for the wheel. They arein the form of straw sailors and are trimmed with narrow velvet ribbon, which is twisted like a rope and passed twice roand the crown and looped at the side with a bunch of quills. Under the brim is set a plaiting of the riboon near the edge, and the top of the crown is cov- ered with a regular bed of loops forming a flat rosette. This idea is carried out in all brown or blue, or in gray with black, etc. Red will certainly be popular all sum- mer, and truly pretty is a red straw hat with three pipings of black velvet on the under side of the brim, two pipinzs round the crown with a rosette at one side, from the effect of a bolero. The belt is of coral—an unusual combination, but: coral The plastron vest is of white satin veiled with lace. The collar of white satin has an application of black lace and the cuffs and waist drapery are of plain black velvet. the lovely spowy hair. This delightful robe was lined throughout with pink silk. Absurd as it certainly is for elderly ‘women to try to dress quil gayly as their daughters, it is a’ great mistake for tkem to wear nothing but grays or black, as they used to do twenty or thirty years ago, for when becoming, a touch of color is capable of wonderful results. A youthful madame at a similar func- tion created & mild sensation when at- tired in & white moire, interwoven witha thread of gold; the gauze bodice was most artistically draped and covered, some open work gold embroidery of extraor- dinary beauty. o eia ” In “Spiritisms. How effective is the great actressin a long, plain skirt of gorgeous white bro- cade, the bodice draped with priceless lace and the oddest imaginable epaulettes of chinchillal Again does she wear a great stole, and this time itis of guipure, bordered with ckinchilla, Now the fact is Barah’s figure is vastly improved by ‘wearing the stole; and it being far newer than the fichu—indeed as. yet itis a nov- elty—women with pronounced stomachs would do well toinvestigate. Yetanother creation in lisse and . creamy gauze has a chic stole of crepe de chine of a pale-yel- low tone on which are embroideries in white chenille. Quitea good idea it would be to have such stole in delicate lines 1o wear with the dainty muslins, chiffons and organdies about which we will hear more every week now for the next few months. 2 For some cousiderable time we have realized the fact that no more charming gowns for evening could be devised than those of chiffon elaborately gathered, tucked and embroidered, and now we know tl they, although extremely ex- pensive, are to form part of the wardrobe of our smartest and swellest girls. Only chiffon of the best quality can be seriously considered, and 'no home dressmaker can handle this fabric, with any hope of suc- cess, 80 very difficult is it to manipulate with success. Chiffon looks its best mounted over plain glace taffeta, and many now line it with net; and apro- pos of net, a much-admired dress is of black mounted over white; has medal- lions of lace let in round the hips, and from there the lace is gathered into vo- luminous flounces, which extend to the hem. With it was worn an Ideal Theater Cloak, Composed entirely of frills of violets of different shades, from the brightest purple to the palest mauve. “These frills were in antique satin and miroir velvet. The length of the cape extended but to the hips. The neck was finished with a ruffle of flowers. These {rilled capes are likely tobe the most popular form of th wrap when we doff our fur garments. They may be very effectively and econ- omically made with glace silk. One, in- aeed. which has come my way in pale blue éhue. striped with lines of steel braid, and is fastened with a bow of velvet. Spangled tulle is in'the neck and wrists. A heart-shaped piece of white lace, with steel, is appliqued on the front of the neckband and falls slightly down over the tulle. The sleeve is cut in one piece, with a puff at the top, and the lower part of the puff isin tucks running round. The skirt is finished separate from the lining and is slightly gathered on the sides, the pleats being included in the gathers. Openwork steel passementerie is appliqued on the sleeves and down the skirt but is not necessary to the effect. The gown embodies the latest ideas in all itsde- tails.” A gray zibelline owned by a belle is trimmed with velvet of the same hue; this composes the bait; which has a deep point in front; a bolero of the velvet is pointed in front and runs up high behind. The velvet band in the skirt pegins long in front and extends up high in the back. All the lines being parallel give the fizure the appearance of being cut in three diag- onal sections, and to carry ‘out the effect there is a high pleating in the back of the neck and the hat turns np in the back. Several Original Confections Merit our consideration and admiration, so from the varied ‘models I have care- fully selected those most likely. to profit my readers., To begin with, it is a long time since we have had any news from Doucet, and I hear that hislatestcloth dress is of pale brown cloth, skirt and bolero being ornamented with'a soft fluffy silken trimming; with it was worn a cbemisette of white chiffon and a draped belt of white Japanese silk, lace cravat and ruffles.. A .simple little dress, is it not? ‘White and cream white is so becoming to most women that Doucet is usiug such chemisettes for even serzes and- cheviots. His idea of again using white cloth (usu- aliy broadcloth) for home dresses has been . favorably received, and one such which has come {o this country has ap- plications of beautiful guipure on both tne skirt and bodice. The epaulets are of the guipure frilled with chiffon. Maize satin forms the belt, neckband and vest. So numerous are'to be the smart cloth costumes that it is well to remember that if you have a close-fitting cloth bodice it should be cut on the cross so as to avoid any back seams or darts. Blouses are teing made to fit smoothly over the shoulders.and are as much liced as ever. ‘Many schoolgirls wear plaided ones with velvet collars and cuffs. In'some cases a broad pleat extends down the front of the velvet, on which are sewn five pretty but- tons. - An Etamine ter | Of a tan shade iemuch admired. The lin- ing is of a light blue silk. The skirt is ab- solutely plain, but the bodice has a biue silk vest embroidered in tones of brown outlined with gold. The embroidery is isnow so popular. It fastens down the left side under an accordion-pleated frill of creamy chiffon, The sleeves are like- wise embroidered and ruched, the effect of fullness at the top being produced by some frills of the chiffon, and it also ap- pears at the wrists. At the waist is a wide pink satin ribbon, that is held in place with a steel buckle encrusted with coral. A handsome branching ornament is worn in the bair. The slippers are of plain pink satin entirely unadorned. 3 A white muslin dress, charming in its perfect simplicity, is a deligntful model for a slender maiden; it is made overa slip of pink glace. The odd square collar is made of the muslin and two rows of in- sertions of Valenciennes lace, but it is edged all around with a pink lisse frill, accordion pleated. The sleeves are wrinkled ell the way up and have very small puffs at the top and lisse ruffles fall over the hands. The waistband is of pink glace taffeta ribbon, and is tied in a frisky bow at the left side. The muslin skirt has three rows of the in- sertion about three inches in width, placed at regular intervals; the last comes just below the knees, and forms a heading for the very full accordion-pleated lisse ruffle, which has two rows of insertion around the bottom. The lisse is an ex- travagance, I am quite ready to admit, but it adds so greatly to the frock’s beauty that I am in favor of having it whenever possible. Fit for a Queen. Holland’s youthful Queen has recently received three charming ball costumes which are not quite assimple as those' worn by most debutantes, owing to her exalted position. One of these must be especially becoming to this yery blonde young maiden, as it is of the shade known to the French as water green, andis a hanasome satin merveilleux. Around the bottom of the beautifully cut skirt is a flounce of whits lace applique of medium width which is beaded with a narrow white satin ribbon. The bodice is cut low and is completely covered with lace, and has a berthe composed of the narrow white satin ribbon and insertions of the lacs fastened at each shoulder. Like most well-made frocks, each and every one is most exquisitely finished both inside and out, frills of lace ana silk always being sewn around the inside of all the skirts, Redfern’s Latest Design Is an extremely smart walking gown, made of a very fine broadcloth of a light cedar tint. The coat has long, narrow re- vers of equal width throughout, faced with black satin and relieved with reseda moire velours under a fine network of gold and jet embroidery, suggestive ot an Oriental applique. GOn the cuffs this also appears. The close-fitting vest of reseda moire velours has small revers of white molre, shot with gold, and itis 1astened with exquisite gold buttons. The lining throughout is of reseda satin, and in con- which rise quills and a bunch of violets with their leaves. This chapeau is in- tended for a young girl. MARCELLA. Styles for Men. Him declares that he has “‘come to the conclusion that there is more in a cravat than any other article worn by man,” and, continues this versatile writer: In the first place let us see about the word. You will observe that I use cravat. Ido because I know that I am right—cravat is the word—neckwear, tics, scarfs and neck- ties have been used by Americans. I con- tend thatall these terms are wrong—cravat denotes the article. Teck (which is syn- onymous with knot) four-in-hand (which is synonymous with Derby) Ascot, tie, bow, imperial, puff and flat, are the names of the styles or forms of cravats. We have a babit of giving an article a dozen names and then fighting about it afterward. I want to set you right on cravats. Let us indulge in anthorities. Piancke is an authority on dress, the Century Dictionary is an authority on words. Planche says, “Cravat is derived from the French crabbat.” It isa neck- cloth or handkerchief. Planche quotes the Ladies’ Dictionary, which says: “The word cravat is properly adjective and sig- nifies comely, handsome, gracious, but it is often used supstantively for a new- fashioned gorget which women wear, ora riding band which men wear.” In the Century we find ‘‘Cravat—also formerly crabbat; Greek, cravate; French, cravate; Italian, cravaita, crotta; a cra- vat—so called because adopted, according to Menage, in 1636 from the Cravates or Croats in the French military service. A neckcloth, a piece of muslin, silk or other material worn about the neck by men.” Ties of all sorts and kinds will contend for our favor this sprine. For example, the straight-cut tie is being shown, and it is one and an eighth inches in width; also the broad end tie and those with pointed ends. The broad-end tie ties in a bow an inch wide, or a flowing-end bow measur- ing in width two inches. The Windsor and the Ogee ties are likewise making a bid for popularity. It the high-banded turn-down collar be extensively worn, later on, ties will be the thing, and the best variety to wear will be those having broad ends; and, remem- ber, they must not have long sprawling ends, and must be carefully selected with reference to the size of the neck which they are intended to encircle. Roman stripes and Tartan plaids are liked when made up into imperials. Very pronounced styles pr colorings are never tolerated by well-dressed men. The De Joinvilles wili be as much worn as they were last winter and are being shown in the most beautiful and variea designs, but in the selecrion of shirts and ties remember that you cannot be too careful in avoiding effeminacy. Your ap- parel must smack of rugged manliness. The stout shoes, wearable-looking gloves, strap-seamed coverts, tweed trousers and soft hat will impart the tone which char- acterizes the outing mode. You must dress for all informal occasions as you would dress for a brisk walk or a run about the country. 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