LADIES' COLUMN.

Evening Post, Volume LVI, Issue 157, 31 December 1898, Page 2 (Supplement)

LADIES' COLUMN.

LONDON FASHION NOTES. [Wbittbn Specially for the Evening Post.] London, 19th November. In accordance with my promise, this article is to deal with a few of the features and details concerning evening dress. At this time of the year, and particularly during the month of December, gteat show is made of evening gowns and materials and styles by all the best .West End houses. At and about Christmas time is a very gay period in England, when balls . and evening parties and festivities of all descriptions requiring evening dress are at their height. Perhaps later on I may be able to make known to you a few fresh points, but at present I fancy that I can supply you with quite enough to be digestad at one time. In the first place then, just a little about the materials which are to figure largely in the near future. Undoubtedly, the very newest is panne ; probably you will remember my having previously remarked' upon it when dealing with one of my millinery articles ; then I described it as having a smooth and glossy surface, very rich and beautiful, and not unlike miroir velvet, though at the same time supple as silk, and I commented upon the fact that prediction said it would soon quite usurp the place of satin. Then there will be a great deal of silk velvet and good velveteen used ; duchesse satin is to the fore, and &o is Roman satin, as well as merveilleux and brocaded stuffs. But as will doubtless be noted, ihe foregoing are not generally suited to the younger members of society, ■who go ir> for a great deal of exertion in the way of dancing. For them transparent materials will have it nearly all their own ■way, and included among this class I may mention the overdresses of net which may be spotted with chenille, or patterned all over with wavy chenille lines, or be embroidered with sequins or else decked with crystals, or else adorned with row upon row — horizontally or perpendicularly — of gathered bebe satin ribbon or plain bebe velvet ribbon. Then many-, gauzes are either plain or else patterned with one of the foregoing decorations ; while the same, too — but in a far more modified degree — applies to silk muslin and 1o chiffon ; these two softer fabrics are oftenei embroidered with coloured silk. Silk muslin, which is rapidly working its way up to the top of the tree, is delightfully pretty and soft for evening gowns, and there is a fear that it will ultimately — and at no very distant date — utterly usurp the place of the much favoured chiffon. Each of the aforementioned materials can be subdivided into several classes. For instance, while some net is the finest of the fine, other qualities have a very coarse and open mesh ; further, while some is covered with large chenille spots placed afc ■wide intervals from one another, other is dotted very closely with pin spots. Particularly handsome and effective are nearly all the black net overskirts, which are elaborately and tastefully embroidered with floral designs in coloured chenille, and sprinkled with jet or crystals or coloured jewels ; white net robes are often dealt "With in the same manner, but it is a style :more conspicuously confined 'to black. Worn over rich and substantial underskirts of satin or brocade or thick silk, these transparent materials in black, so exquisitely worked with colour, are largely sought by matrons. But over pretty, lightcoloured silk or gauze slips, they will form the height of fashion for the young and slightly - proportioned section of th*» fashionable community. Great changes are, of course, rung with the same material. For instance, a black net may be figured with black chenille spots, or the spots may be white or coloured ; a white net may be spotted with white or with black or with colour ; and a coloured net may be treated in the same way, and again, of course, the different coloured slips constitute in themselves an almost endless and distinctive feature. The cry-stal-dropped gauzes are exquisitely pretty and girlish - looking, and so are the silk ' embroidered chiffons. Then, handpainted materials are among t-e exclusive productions for the gay winter season. A mousseline de soie ball gown was handpainted in a design of delicate pink and mauve carnations, and the petals were outlined with silver tinsel which gave a very bright appearance to the gown, whose foundation, like the material, was of white • another gown, also white mousseline de soie, over yellow silk, was handpainted in a design of yellow lilies across the front breadth of the' skirt. Purple velvet, too, was painted with a graceful and light design in shaded mauve orchids ; and another, of myrtle green, had a handpainted design of silver wattle anu foliage, the edges of the latter being outlined with green silk. Another even- _ ing material is a soft and glossy surfaced cloth, whose principal recommendation is its clinging quality. Then there are plain, and fancy, and figured silks to suit the taste of all ; a great many are striped a la bayadere; glace silk remains in favour, and so of course do the soft and flowing varieties ; while delicate veiling which is possessed of the same qualities, ■will find favour and is less expensive than most of the other materials. As for all colours, well, I think all shades are fashionable ; and at any rate, blue is, and so are all the tones of jjink ; white and cream are always favourites, and so is eau de nil. A combination of blue and mauve is good, provided the bright tones are "mingled, one specially taking ball dress being of pale blue silk gauze over a light mauve silk foundation. Black and white, as usual, is immensely popular, and one of the latest of Fashion's decrees is that black lace skirts are to be "resurrected " for wearing over white or black or colour, but particularly over the first-named. In eveiy instance, so far, the design has been quite simple, but effective and light looking, and has consisted for the most part of flowers. So much then for materials ; now for a few words about the styles. As for day gowns, the skirts of all evening dresses are tight and clinging ; that is to say, "tvhen they are composed of a material suited to that mode. But there is always a great deal of flouncing used. Sometimes there may be only one deep flounce ; frequently there are two or three, and occasionally the skirt is flounced right up to the waist in a series of small graduated frills, or else Avith about four moderatesized flounces, each of the same width. Apron fronts are well worn, often two materials on the same skirt and sometimes there are more. For example, 1 have met with many in black net which have an apron of close black sequined jet, end then the rest of the skirt given up to one or more flounces. Again,, the tablier part can be of satin while the deep aiounce or series of flounces w— be formed of some kind of net or lace. The apron front need not necessarily be rounded ; it is often shaped in a deep point oi' else scalloped. Then the flounces are so infinitely varied ; some are vandyked j some are pointed ; some are accordeon pleated ; eorne are trimmed with several rows of "white or coloured bebe satin or bebe vel,vefc ribbon ; some are covered with applique designs ; some are threaded with tinsel ; some are spotted with chenille ;f; f some are embroidered with chenille or sequins or both ; and some are crystallised, while others are perfectly plain. Occasionally the whole front of a gown is covered with a plastron of rich lace, Irish guipure being particularly in deWand for anything of this sort. But we are not dependent upon the >pion effects for our evening gowns any more than we are for our evening dresses. There are plenty made in the Princess xobe shape, and we are also in for the return of the polonaise. To return, however, to the tablier variety. There was one evening ikirt which was made of

• cream satin, the rounded front being of that material, and this was outlined with bouquets of purple violets worked in silk and the flowers were dotted with crystals. The deep flounce was made of a beautiful piece of crystallised silk gauze. Another, in much the same style, had, instead of the violets, bows of wired velvet, three in all. These Louis Seize bows were introduced, as you will probably remember — at any rate, it will not be my fault if you don't — on many of the summer hats. Now they are one of the most prominent features of present.-day evening dress. Having supplied what I feel to be a most inadequate idea of our skirts, I must say | a little about bodices. When of satin or velvet, I find that they are nearly always cut off short on the hips and terminate in a little point back and front. They look very plain and severe after the erstwhile deep belts, etc; all their trimming is placed upon the bust. But if of net or gauze or any of the pretty and thin materials, there is in most cases a slight pouch, and the waist is encircled with a narrow belt — or really an apology for one — of velvet drawn through a paste buckle, and sometimes slightly pointed in front. Ribbon bows are comparatively little used to trim bodices ; rosettes have stepped in in their place. With a great many dresses oi this kind, instead or a belt there is a sash, and this lovely little^et cetera defies description. It must be of soft material, and perfectly fresh. Chiffon is largely employed in its construction, and so is gauze, as well as spotted tulle and net. ah the newest have rounded ends, and one of their most important features is the number of little frills which adorn each of the ends, and these frills themselves are edged with several rows each of bebe ribbon 1 or velvet. The sash may match the gown in colour, or it may be white, with trimmings of the same tone as the i gown. A short time ago very small loopr were orthodox, but now longer ones are permissible, and the little tiny frills meet the falling bow. These sashes are really very fascinating and tempting, but it is absolutely essential that they be perfectly, fresh ; therefore they are extravagant, for they do not possess a lasting quality. Frequently the bow is drawn through a fancy buckle. Buckles of paste, of paste combined with colour, of pearl, of steel, of enamel, etc., are all the rage, and considerably enhance the appearance of an evening dress. There is another kind of sash, and this is a most novel variety. Usually it is l made of soft satin. It fastens behind with a rosette, and two long streamers reach the edge of the gown. Hanging from the front of it are two long panels, separated by a space of their own width Generally velvet is used in the formation of these panels, which are bordered with a ruching of the same satin, which forms the ends at the back. But that is not all : the front panels must have a lining of similar satin, and this must, further be covered with good lace. Until the wearer ! moves the lace is invisible, but when the ends do turn back the glimpse of the lace, coming quite unexpectedly as it does, is extremely effective. Though undeniably it does seem a waste of rich and expensive lace to use it where it will hardly ever be seen. This article of dress is known as the "girdle" sash. Often with the straight and narrow I waistband there is, instead of a buckle, a small Louis Seize bow of wired coloured or black velvet at the left hand side, and even if there are no more of them on the skirt there is sure to be one on the right shoulder. These bows are very pretty, besides being smart and effective, and — at present — quite uncommon. Bodice decorations are numerous, for, in addition to the above-mentioned bow, there is a great deal of lace used, as well as many flowers. Fur is appearing on some of the evening gowns, and so is feather trimming. There are exquisitely beautiful insertions of coloured chenille combined | with sequins, and sequined net in iridescent effects, beside insertions of pearls, of flowers wonderfully and realistically done in raised silk gauze, and passementerie of all descriptions. Of course, when the bodice material is crystallised extra jewels are seldom used, there being instead lace and coloured velvet. Undoubtedly the very newest ornament is the butterfly. Originally, I am told, the real insect was made the victim of fashion, but not in this country, lam thankful to say. Here we are content with artificial butterflies, and they are particularly beautiful, and look so natural. Gauze is used largely in their construction, and they are coloured with mother-of-pearl, or with jewels and silks. The atennse generally are of narrow gold-covered wire. Sizes vary, and so do the colourings. • The number worn depends upon the size. When large, one resting on the top of the left shoulder among some airy material, or lower down on the bust, is deemed sufficient ; when very small, several are placed about on the bodice, as well as several on the skirt if the latter be made with a deep flounce, about the heading of which these pretty little ornaments are placed. At one time — quite recently, too — fans were decorated with the wings of real butterflies, and hundreds of the poor creatures were netted for that purpose. The body, head, etc., were afterwards painted on the fans by the artist, who generally sketched, in addition, some flowers, about which the in sects appeared to hover. But, again, this country was not responsible for that barbarity. At this point I must close, with the hope that I may be able to continue my remarks on evening attire in my next budget. ____________«. i