Edwardian Era Fashion Chit Chat - December 1902 The Delineator

Edwardian Era Fashion Chit Chat - December 1902 The Delineator

Fashions of Today

Tucks en bayadere are stylish and are especially adapted to the soft silks and woollens used for dress gowns. The new tucked bodice is made additionally attractive by the drop-shoulder efect. The closing is made at the left side, and the mode may be in low-necked style with elbow sleeves, if preferred.

A skirt to accompany the bodice described above is in habit back style and consists of a five-gored foundation skirt lengthened by a circular flounce, and a tucked circular skirt formed of a yoke, centre section and flounce. Any trimming may be applied between the tucks.

The effect of horizontal tucks is achieved in a waist by applying two band-frills below the bust, a similar frill following the lower outline of the drop-shoulder yoke, which may be of lace or other contrasting material. The neck may be in high or Dutch or "1830" low style, and the sleeves, distinguished by band-frills, may be in full or three-quarter length. This mode will be charming for a slight, youthful figure and suggests a combination of silk or soft woollen material and all-over lace.

Modish jackets are characterized by the slot-seam effect, and one of the newest designs, wherein this is a conspicuous feature, may be developed in cloth, velvet, corduroy or any of the heavy, rough goods and is in blouse Eton style with bishop or coat sleeves and with or without the peplum.

The smartest top garments are shaped upon lines suggesting the kimono or Monte Carlo coats, and a design that may be in regulation or short three-quarter length has a gored circular back and flowing or bishop sleeves. An ornamentation of stitched straps may be used. A wide turn-over collar finishes the neck, and the fronts roll back in revers. The mode is appropriate for development in cloth, velvet, and silk.

The popularity of plaid fabrics this season has brought out many designs in waists. A new shirt-waist has a slightly fulled back and fronts that suggest the "Gibson" shaping, the closing to be made in regulation or Duchess style and with a plain or Roman collar and ornamental straps. Plaid goods cut bias will lend itself admirably to this mode, while striped or plaid fabrics used straight and in bayadere effect are also suitable.

The popularity of the two-piece costume has, if possible, increased, and an attractive tucked mode consists of a blouse jacket, with a plain peplum or six or fewer peplum tabs, and a seven=gored flare skirt having an inverted box-plait at the back. Both smooth and rough faced goods may be used for this stylish design, and briad and buttons will provide decoration, though machine-stitching may be used.

A skirt of unusual beauty, suitable for development in thin or soft goods, consists of a five-gored foundation skirt and a circular skirt with shirrings extending all around or terminating in front to produce a panel effect. A graceful frou-frou marks the lower edge of this skirt, and a simple ornamentation of applique lace banding is suggested.

Norfolk jackets are among the season's favorite modes, and a stylish example is in double-breasted Eton style to be made with two strap-plaits on the front and two or three on the back. The use of the peplum is optional.

A skirt that would suitably accompany the jacket just described is of nine-gored flare shaping and may have slot, strapped or regular seams, with the back in habit style or with an inverted box-plait. Straight-around, instep or outing length may be used, and the facing may be omitted.

The shirt-waist costume is quite as essential in Winter as in Summer. A new design that suggests a development in metal velvets, corduroy or plain goods consists of a strapped shirt-waist and a nine-gored flare skirt with habit back to be in medium sweep or dip round length and with three or fewer straps extending about the skirt or temrinating at the side-front seams. Contrasting material used for the straps lends distinction to the mode, and fancy buttons may supply ornamentation.

An attractive and practical article of lingerie is a Princess slip or corset-cover and petticoat-skirt in one. It may be in full length with a circular flounce having a slight sweep or in dip round length, or with a gathered flounce and in under-skirt length. The neck may be high or in Dutch or low round style, or cut straight-around at the top and the waist held in place over the shoulders by ribbons. Wash silks, nainsook, fine cambric, dimity and long-cloth are the materials used for dainty under garments, and fine Swiss embroidery or wash lace and ribbon is the correct trimming.

A five-gored petticoat-skirt is lengthened by a dust ruffle and has a gathered flounce, overlapped by a circular flounce with or without a border ruffle, as its distinguishing feature.

For evening wear the wrap par excellence is the cape, and the Red-Riding Hood or Irish peasant mode is again popular. It may be made in full or automobile length, with three or fewer capes or a hood. A flare collar or standing band may complete the neck. Velvet and cloth are alike suitable for developing the mode, and fur or silk may be employed for the lining.

A pretty tea-gown or wrapper is essential to the complete wardrobe. A new example is made in drop-shoulder effect, with high or Dutch round neck, and with or without the graduated circular flounce from beneath which the skirt should be cut away. The sleeves may be in full-length or three-quarter bishop style. Silk, cashmere and other soft fabrics, associated with all-over lace and velvet ribbon for contrast, may be satisfactorily used.

Edwardian Era Fashion Chit Chat - October 1904 The Delineator

Edwardian Era Fashion Chit Chat - October 1904 The Delineator

Fashions in New York

The vogue of Louis XVI and Directoire styles is now assured. All dresses are lavishly decorated, and the hand work on even the simplest frock makes it a costly affair, unless one is clever enough to do this work oneself. Some of the specimens of the Louis frock are wonderful, but in no way can they be said to be in accord with principles of economy. These styles, however, are to a certain extent adaptable to individual tastes and needs.

The leading couturieres declare that the best-styled gowns are faithful representations of the models worn by Marie Antoinette. Even the styles of "1830" suffer by comparison with these creations, which, however, demand the right shades in the right materials, with quantities of beautiful lace and embroidery. An example recently imported was fashioned of messaline - the most charming of soft silks - in old French green. The bodice fastened at the back in Marie Antoinette fashion and had a deep point in front. Arranged in tiers were exquisite Louis XVI buttons set in rosettes of taffeta and outlined with palest Malmaison pink chiffon velours. The sloping shoulders were held up with a deep tucker of old Viennese point, worked with silver threads. The skirt was plaited very full on the hips, and the front panel - quite the newest thing in skirts - was trimmed around the bottom with ruches of lace outlined with the velvet, and rosettes of green taffeta, having crystal button centres, were set at regular intervals at the top of each ruche. Around the bottom of the skirt, at the sides and back, there was a ruche of the silk outlined with shaded green velvet leaves.

Another beautiful gown, to be worn at ceremonious functions this season, is made of gray chiffon, veiled with gray lace of an Old World pattern. The train, which is the especial note of interest, is composed of the two airy fabrics attached to the shoulders by means of loops and silver gray cords. More attractive even than the most beautiful mixtures is this one-color gown; it is more distinguished, more individual than any other style.

The smartest model of the tailored coat is a tight-fitting affair thirty-six of fifty inches in length, and its success lies in perfect adjustment and finish. Many of these long jackets are made very tight back and front, or loose all around in tourist effect. Collar and revers of velvet of a tone to harmonize are the correct trimming for the dressy tailor coat, while that intended for utility may have the velvet collar replaced by one of leather.

Tailored costumes are made of the checked and striped English stuffs and of covert cloth.

A novelty of the season is the fifty-inch hip gore coat, a model of exceptional style when perfectly tailored and becomingly adapted.

Some of the smart people will adopt, this season, the velvet Louis coat, with the cloth skirt of the same color, and shades of tan are the choice of the most fastidious. The idea is at once practical and attractive, though the greatest care must be exercised in choosing just the right shade in the velvet and cloth. There are those who will reverse this idea, and wear the velvet skirt with the cloth coat, which is quite as modish.

The newest and most popular of the season's negligees are of Empire design, or at least are a modification of this picturesque idea. These short waisted robes are fashioned from the softest, most pliable fabrics - India silk, crepe de Chine, soft woollens and even dainty, sheer lingerie stuffs - and they show a lavish amount of lace and ribbon garniture. In almost every instance they are quite collarless, and their flowing lines from the short body are full of beauty and grace. Black - the note of distinction that is usually apparent upon the gowns designed by the best French dressmakers - is introduced in the form of fancy stitches or velvet ribbon on some of the most attractive house gowns. The use of flowered ribbons is noticeable on negligees, and transparent lace or enbroidery guimpes or tuckers to wear inside the low neck is a pleasing suggestion. Ribbon or velvet run through eyelets, beading or button-holed slashes is sometimes used for drawing the tuckers in at the top, although they are also made to fit snugly, in which case such a method of adjustment is not required. Plain effects are generally the most becoming to women of full figures.

It is a day of revivals; and the stomacher, as the long, boned deep point of the fashionable bodice is called, is much in evidence. Deep, pointed girdles and belts distinguish many of the most stylish gowns, and in these a touch of harmonizing or contrasting color can be introduced. These dress accessories are most important, and the clever woman is she who, with only a few pretty dresses but a generous supply of belts and sashes and neck wear, can be well gowned for any occasion.

Some of the newest combinations of color are quaint, and strongly suggest the long ago, when our grandmothers wore snuff color and green blended in plaids or stripes for church and calling. Bright, solid colors - old rose, sky blue, primrose yellow and apple green - are revived, and when carefully handled they are charming.

For hats, the Directoire is perhaps the most striking model, and no headgear is so suitable to the modish frock. The sweeping paradise feather is the trimming par excellence for these picture hats, and a charming example is in marron brown trimmed with a bird of paradise, which shades from marron to orange.

Even in the manner of dressing her hair the fashionable woman copies the Directoire modes.

A low-neck corset-cover, with its strap bands falling below the shoulder, is a very wise as well as a beautiful idea. It insures comfort through absence of bulk and wrinkles and comfortably accomodates the low-neck bodice. Silk batiste and mull, in pale, delicate colors and white, are used to make some of the daintiest of these corset-covers. They are full over the bust, with tucks rather than darts about the waist, and they end, as do all newest covers, at the belt. A circular peplum is easily added, if one prefer it. Wash ribbons run through beading are extensively used on these dainty creations, and the new beadings, by the way, display the ribbons to better advantage. They are wonderfully attractive, the ribbon being drawn under lace showing flowers of various kinds and all manner of pretty conventional designs. Embroidery, consisting of a monogram or initials or favorite flowers, enters into the decorative scheme of the fashionable lingerie.

Edwardian Era Fashion Chit Chat - October 1904 The Delineator

Edwardian Era Fashion Chit Chat - October 1904 The Delineator

Dress and Gossip of Paris

Speaking of the falling off in the book trade of France, some one recently remarked: "How can the modern young people read? They never sit down!" This habit of being always on the "go," which, certainly, is very twentieth-century, has undoubtedly influenced the fashions. Formerly the "house dress" was the great affair of the dressmakers in the Rue de la Paix; now, and especially in this Winter season, the dress which one wears out of the house is most to be considered.

Perhaps the newest thing of the year's end is a mantelet in fur which is to be the rage; it is made with three ruffles of fur, sealskin, chinchilla, sable, moleskin, or even beaver. These ruffles, falling below the waist in the back, are narrowed into two long ends which finish at the knees in front. There is a flat band of the fur around the neck mounted with ruches of taffetas or of lace.

As brown is the most fashionable color of the season, sealskin will be more worn than any other fur for the daytime. White fox and ermine are still correct for evening wear.

Brocades are to be very much worn both in single tones and in contrasting colours. For example, an extremely handsome gown for the theatre or dinner, is made with a skirt of white crepe de Chine with a tucked panel down the front, and a coat of white silk, brocaded in large black roses. Hydrangea satin was used for facing the jacket. The long basques of the coat fall to the knees. There is a belt of black satin and folds of the brocade which finish the coat above like a separate bodice and an empiecement of transparent lace which also forms the collar.

For the street, cloth and all of the smooth woollen materials will be popular.

The newest fur boas are no longer flat, but round, and actually like the boa. Quite a novelty are the little eiderdown boas only about three-quarters of a yard long, worn close around the neck.

Hats are small for the street and very large, indeed, for dressy occasions. Aigrettes are much worn, spangled and jetted tulle for turbans.

As outer garments, long coats entirely of fur or with revers and high cuffs of fur are much to be worn. Evening wraps should be made in rich velvets of any colour between royal purple and lavender or light red and deep crimson. Another material used for opera cloaks is embroidered cloth. The cloth, of a delicate tone, has Japanese-like designs, or patterns with openwork motifs, embroidered in the same tint.

Amongst the new materials is flowered chiffon. On a ground, for example, of pale blue, there are at intervals, alternating with stripes of the plain material, stripes of roses falling like a garland. This is the sort of chiffon used for skirts with the Louis XV coats of satin or brocade.

Nothing could be more correct and yet more Parisian than this evening gown of spangled tulle; "night" blue is the colour of the material, which is dotted over with paillettes as the night sky is with stars. The skirt has three deep flounces and a long train. The bodice, perfectly plain, is draped square across the front, leaving the shoulders entirely bare and the arms covered only by a short puff. The richness of the material makes unnecessary any trimming. In the hair is an ornament of spangles. Nothing, on the other hand, could be more elaborate than this heavy satin made en princesse with flounces of gold lace falling over the shoulders and down the back, narrow at the hips and broad at the hem of the long train; or this grey moire gown, with its four flounces of ruffled Venetian lace, its fichu of the same falling over a pointed bodice and finishing the short full sleeve.

Generally speaking bodices are made round for day gowns, and pointed for evening dresses. Very smart afternoon costumes have a chiffon skirt with a Louis XV coat. The waist is drawn in a bit so that the fulness around the hips does not deprive one of grace.

Laced boots have quite gone out of fashion. They may be worn for skating or for golf, but with a street costume they are very inappropriate.

The ornaments worn in the hair are numerous and almost as important as hats. They are either high and caught at one side of the chignon, or else they are low and full and attached at each side of the head a la Gismonda. They are made of spangled gauze, of artificial roses covered with mother-of-pearl sequins, of jetted aigrettes, or of maiden-hair upon which are strwen rhinestone drops of dew. For those who have jewels it is a fancy to wear only a band of velvet the colour of one's gown across the front of the hair with a diamond ornament to hold it in position.

Even for belts there is a new touch: the buckle, which should be round or oval now, is worn in the middle of the back and the belt is fastened in front with a small clasp. These buckles for evening blouses may be made on an iron frame with a covering of ruffled gold braid or of tiny artificial roses. The effect is charming.

Edwardian Era Fashion Chit Chat - December 1901 The Delineator

Edwardian Era Fashion Chit Chat - December 1901 The Delineator

Fashions of To-day

An innovation in skirt designs is termed the form-fitting or serpentine and is characterized by a very close adjustment to the knees - by means of an elastic strap at the back - below which there is a decided flare. An approved five-gored mode has a double box-plaited gore at the back and a rippled circular flounce extending to the plaited gore. The skirt should be cut away from beneath, and it may be in sweep or round length. This skirt is especially adapted to velvet, corduroy and smooth-faced cloths, and stitched bands of cloth or satin may be applied where the flounce is joined to the skirt.

Another attractive skirt is of circular shaping, with a narrow front panel and centre-back seam. A graduated circular flounce, from beneath which the skirt may be cut away, is a stylish feature. The mode may be in sweep or round length or in evening train; when the latter style is desired, soft silk-and-wool materials will be chosen, with embroidered bands, lace applique and deep lace points.

The centre-back closing remains popular in both fancy bodices and shirt-waists. A bodice with this feature has the bloused front cut low in fanciful outline to reveal a yoke of contrasting material; the smooth-fitting back is similarly shaped, and the sleeves carry out the same idea at the bottom, where they are cut out, displaying a full puff completed by a narrow wristband. Silk and velvet or silk with all-over lace or fancy tucking will combine well by the mode.

There is unusual grace in a bodice that may be made with high or low neck and full-length, elbow or short cap sleeves. A drapery of the same or some harmonizing material follows the outline of the low neck, or of the yoke if the neck is made high.

The neck finish to both fancy bodices and shirt-waists is most important. Some collars approved by Fashion are made with or without a centre-front seam and with the lower edge pointed in front and the upper edge to be either straight or in fanciful outline at the back. Velvet, all-over lace and tucking arranged to produce a bias effect are suitable for these collars.

A stylish two-piece costume consists of a double-breasted Eton blouse jacket having a standing collar, with or without a plain or fancy turnover, and a five-gored skirt with habit back. A graduated circular flounce, from which the skirt may be cut away, is added, and sweep or round neck is provided.

The habit back, which is again in high favor, characterizes a new seven-gored flare skirt which may be made with or without a graduated circular flounce from beneath which the material may be cut away. The new slanting dip is introduced and the skirt is adaptable for sweep or round length. Machine-stitched bands of the same or a contrasting material will provide suitable ornamentation when the design is carried out in rough or smooth-faced goods or in corduroy.

Two underfolded plaits extend from the shoulder seam to yoke depth in the fronts of a new shirt-waist especially suitable for developing flannel and other woollens. The closing is made under the overlapping scolloped front edge. The sleeves are in blouse-bishop style, completed with narrow wristbands. The standing collar, which is removable, is given a neat finish by turnovers in fanciful outline.

Every well-appointed wardrobe should contain at least one cape, and a new mode that is in double-breasted style may be made with or without a centre-seam. The hood is removable, and a Medici-flare or Aiglon collar may be worn. The cape which is of the military order, will develop well in the new double-faced materials, as well as in heavy cloth and rough goods; plain or plaid silk may be used to line the hood.

There is good style in a bodice with a left side-front closing and perfectly smooth back. An underfolded plait laid in each front gives a becoming blouse effect.

Top garments of all lengths are fashionable, from the short jaunty Eton jacket to the full-length coat. An attractive example of the former with blousing double-breasted fronts may be made with or without yoke facings. Velvet and cloth are alike suitable for developing the mode, which is especially becoming to slight figures.

The back of a new coat reaching below the hips is shaped in military style, while the fronts are double-breasted and semi-fitted.

Edwardian Era Fashion Chit Chat - October 1906 The Delineator

Edwardian Era Fashion Chit Chat - October 1906 The Delineator

Fashions in New York

The vital question whether Empire lines shall be or shall not be, is at last decided as far as New York is concerned. All high class establishments have declared themselves upon the affirmative side, and are now busily preparing gowns cut with the elevated waist-line that is the distinctive feature of the Empire dress. It has taken some time to persuade the American woman to adopt the new fashion, but from present indications it will be seen in all dressy gowns throughout the Winter, and promises to become general towards Spring. Rejected at first as too radical, the picturesque but daringly unconventional lines of the Empire gown have been gradually modified until Josephine herself would fail to recognize, in the present-day product, the distinctive dress of her period. The belt-line of the modern Empire gown is considerably higher than nature indicates; the skirt is fuller and more graceful than the one from which it takes its name, and the long lines that fall from the softly draped bust are decidedly more chaste.

The up-to-date Empire gown admits of individual treatment, and it may be made to assume shapes readily adaptable to different figures. Thus, we find it in sheer, soft material, hanging quite free from the bust downward, over a perfectly fitted princess lining. In heavier goods, it falls loose in the immediate front and back, but is held in on each side by the ends of the popular and becoming cross-over fichu. Again, it descends in straight front effect from a deep, square yoke; and it also presents itself in the "New Empire," with its princess or normally girdled front, and its loose back hung from a short Eton or a high-waisted girdle. This is the style that is likely to prove particularly popular with the conservatives who, reluctant to adapt extreme styles, warmly welcome a happy compromise. They find the "New Empire" graceful and dignified, and less conspicuous for street wear.

The long coats and paletots, like the dressy gowns, show Empire lines, real, or else simulated by crossed bands, revers, and deep yoke effects. Made of the finest broadcloth, they are cut circular, front and back, and are elaborately trimmed with hand-embroidery, underlay and cut work, and the richest laces. The lining is soft brocade, or lustrous taffeta.

Evening cloaks are of cloth or velvet in any of the new tints of white or gray. They are lined with silk overlaid with plaited chiffon, and a ruche at the foot peeps out below the hem. The sleeves widen into bell shape, and end half-way between the wrist and elbow. Many of the dressy wraps are almost cape form, and others are shown with an attached hood, oftener long and pointed than round. The materials and trimmings are as luxurious as the wearer can afford.

The coat suits for morning and also for ordinary afternoon wear show less tendency toward the Empire styles than do the dressy garments. The imported models, as usual, have the full-length skirts the Parisians will not give up, but the American tailors are reproducing them in walking length almost exclusively. The entirely circular skirt has been superseded by the plaited or tucked skirt, cut straight, with many separate and flaring gores. One or two of the new models show straight gores at the side and in front, joined to a decidedly circular back. This back fits smoothly and snugly at the top, but about fifteen inches below the belt it falls into box-plaits that widen as they descend. These plaits are finished at the top in a picket point and appear to be held in place by a narrow strap set two inches below the point.

The gores of the new skirts flare out sharply. Many are tight-lined, as in the old days before we made the acquaintance of the drop-skirt. Circular bands of cloth trim the skirt and emphasize the flare. Broad silk braid answers the same purpose, if skillfully applied, and rows of narrower braid parallel it at intervals. The circular bands may be continuous, or they may be applied in sections and joined by buttons and simulated loops of cord.

These bands are of plain cloth upon plaids, checks and tweeds, and of velvet, overlaid with fine cloth cut work. Sometimes the band is of self material ornamented with a Greek border of velvet or of cloth strapping.

The coats of the new suits show unusual diversity in shape. Some are in three-quarter length, fitting the figure snugly. Others are smart Etons, cut rather square in the front and so short in the back that they require a shaped belt. The chic "pony" coat is also seen, its attractive lines emphasized with stripes of rich silk braid woven in new and decorative designs.

Few, if any, of the coat suits show the high waist-line, but some of the fancy models simulate the Empire effects by means of shaped revers that cross in the back and are continued under the arm to their starting point in front. A model of this style, made in fine, silver-gray cloth had a simple Eton coat for its basis. Deeply-notched revers were shaped to follow the outline of the coat, and finished at the outer edge with a triple cording in three different shades of metallic green. The revers met in the back, passed down the centre, and were carried to the front in girdle effect. From beneath the lower edge flowed a circular peplum, about six inches in depth. The waistcoat if ivory cloth, embroidered in shades of gray and picked out in gold, that hung straight in front and was crossed in double-breasted effect, lent a touch of quiet elegance. Altogether the model was highly original and wonderfully smart upon a slender figure.

Sleeves are creeping downward very perceptibly, but they have not yet attained full length, even in fur garments. Several clever devices have been introduced to provide a comfortable covering for the arm in cold weather, that shall not sacrifice the smartness of the abbreviated sleeve. These are made adjustable to the lining of the coat sleeve by means of loops and buttons or with patent fasteners, and we are likely to see them with greater frequency as the season advances. These arm coverings admit of original treatment, and one may vary them in many ways. For example, I saw a model in brown broadcloth where the three-quarter sleeve was finished with a turn-back cuff that flared considerably. Projecting from beneath was a detachable under-sleeve, made of a double bias puff of brown moire, ending at the wrist in a cuff that duplicated in miniature the one on the sleeve. A black cloth model showed a deep mitaine of panne velvet running up inside the coat sleeve. It was wrinkled like a suede glove, and buttoned closely along the outer seam. In another model, a deep and seamless cuff was shaped to the arm by means of lengthwise cord tucks, and closed with a lacer threaded through worked eyelets. In a long separate coat of tweed the sleeve was bell shaped and faced on the inner side with green suede. Two inches from the lower edge of the sleeve and at the outer seam, there were set three buttons of the suede rimmed with silver in a horizontal row and at regular intervals. By means of a little tab of tweed, lined with the green and buttonholed at each end, the wearer might gather up the width of the bell sleeve and adjust it closely or half closely to her arm.

The imported tailored suits show touches of strong color combined in the daring fashion the French understand so well. The range of color in the early Autumn gowns includes light and dark reds showing a ruby tint, and browns in golden and in warm russet tones. Homespuns, imported broadcloths and other woollens with fine black lines crossing Tartan and shepherd plaids and with the black bars in camel's hair stripes are offered for morning wear, to be made up in severely tailored effects.

Many of the October brides will wear gowns of rich satin, although chiffon overlaid with quantities of real lace flouncing will also be seen. Empire lines seem to be favored most, but princess lines are followed in those cases where it is a pity to hide the perfect figure of the bride. The satin gowns are perfectly plain and show hand embroidery, in silks, chenille, silver and seed-pearls, outlining the hem and trailing up the seams. The design of the embroidery should be original, and preferably it should embody the birth flower of the bride as its main motif.

Edwardian Era Fashion Chit Chat - December 1901 The Delineator

Edwardian Era Fashion Chit Chat - December 1901 The Delineator The Fashions of London The popular trimming for evening as well as in the daytime is fur. For evening there is no doubt that the few who can afford such pleasures cast their votes for sable. Sable coats and Sable capes are as much in evidence as money conditions will permit, and we have learnt to decorate our furs with considerable charm, a sable coat which reaches the ideal showing an entire vest of Irish lace held with a jewelled buckle, the inside of this being softly frilled with fine lace, while the bell-shaped cuffs and the shaped flounce which borders the coat are outlined with broad patterns of Irish lace, tinted to a deep cream tone. Another luxurious garment of fur is in the cape form and shows alternate stripes of the finest cream-coloured lace and chincilla, the lining to this being of soft cream-coloured satin covered with a kilting of chiffon. Kilted chiffon linings are, I confess, somewhat incongruous, but none the less attractive. Ermine is again in favour. A beautiful Empire coat of sable with an ermine yoke and facings is a notable example of present day extravagance, and in this, too, the lining shows soft frillings of chiffon and lace over the essential satin. As for evening dresses, while we have by no means abandoned the charms of lace and chiffon we are undoubetly recognizing those of brocade. I am afraid, though, that we are not obeying very faithfully the mandate of her Majesty Queen Alexandra, that these broacdes should be of British manufacture. And I was told by some authorities that the expense of producing English brocades, by reason of the climate, the workmen, the machinery, and other disabilities, is rendered almost prohibitive, and it would take at least a century to reestablish the silk trade into any sort of practical working order in England. Of course, it is possible to produce beautiful brocades here, but not in sufficient quantities or in sufficient qualities to meet the universal demand, at an obtainable price. Very beautiful effects in brocade are produced by the introduction of velvets and chine patterns on soft grounds of satin; flowers will be in chine, while a ribbon will be simulated in velvet on a foundation of soft cream satin, such fabrics lending themselves to adornment by the picturesque fichu, deep frills of lace on the sleeves and lace-robed fronts. We have not lost our affection for the sequin, and it twinkles on many a lisse and lace gown, which may be found garlanded with chiffon roses amid leaves embroidered in green ribbon. There is a revival in favor of passementerie trimmings, galons of all description and silken tassels; and very decorative these are, especially the last, when used on plain cloth tailor-made dresses. The galons, too, make effective trimmings to cloth dresses, which are in the Louis treize style, for such collars and revers seem to call aloud for bindings; and most of these galons have light grounds and dark patterns upon them. But in addition to plain cloths this winter we have worn much zibeline, and corduroy velvet strapped with plain face cloth has been popular, while we have evinced much appreciation of velvet; and cloth skirts with velvet coats bearing embroidered waistcoats and galon bound collars and lace jabots the conspicuous favorites. These may be well accompanied by a tricorn hat whose outlines seem to have altered a little to suit the shape of the individual and whose popularity is firmly established. An admirable example of a tricorn shows a brim of jet and a crown of the softest white beaver cloth, while on each side of the brim are placed black and white wings. White beaver cloth decorated with yellow lace makes some of the most fashionable hats, while a combination of sable and lace forms and attractive toque, and Irish lace appears alike on millinery, evening dresses and costumes. The Empire style still counts many devotees, and an effective way of achieving this is with a deep belt and sleeves entirely formed of jewels, lace or passementerie, or thickly embroidered net, the gown opening in the front to display a lace robe and being cut without fullness in the bust or the back. Such dresses look well in soft stuffs, and I have seen an admirable example of black belt and sleeves being made of silk guipure with a black velvet appliqué, while the gown itself was of the finest black Chantilly lace well lined and ruffled with chiffon, chiffon forming the front. A piece of rose point was used for the chemisette, which appeared just above the belt. The Fox boa in white, and gray and in black continues to be seen about the neck of fashionable women, and an excellent effect was produced by a white cloth coat and skirt, a blouse of Irish lace, a white toque with a large white bird at one side, the whole being completed by a white Fox boa and muff. Birds and ostrich feathers are the favorite trimmings for millinery at the moment, and the threatened alteration in the coiffure, which is to be removed from the top of the head to below the crown, comes slowly but surely. To achieve the best results under such conditions, it is necessary to have a head of a good shape, and that advantage not having been granted to all of us, we arrive at becoming results in the evening time by the addition of scarfs of chiffon held with jewels, vainly imagining that we are copying the famous picture of the beautiful Emma Hamilton and, of course, sighing for a Romney to immortalize us. Hats are flat in shape and style of trimming, to a surprising degree, but second Empire styles in both fur and felt are worthy of mention. An admirable example of the Louis XIV style is made entirely of jet and is not at all heavy; to white ostrich plumes are arranged to fall softly over the brim on the hair at the left side. Trimmings are indeed wonderful; embroidery is a most important item, and it was never more delicate for more original in design. An novel narrow trimming that suggests fringe is used for skirts to form zigzag entre-deux halfway down. Another skirt trimming that is the greatest novelty shows a VanDyke design in silk embroidery, lace or chenille on taffeta. Six points are formed on the skirt, top and bottom, with these van Dykes, and they appear as though woven in the material. Black and gold soutache trimmings are used for the Empire bodices and jackets that are in high favor. Frequently this trimming forms a short bolero that terminates above or just below the bust. A heart shape cut in a piece of the material and fastened down each side of the shoulder seam with jewel buttons in a pleasing design is a novelty in this ornamentation, which is as much seen as ever. The newest neck chains are very massive and much ornamented, while the curiously fine, almost threadlike chains, glittering with tiny diamonds set in platinum, are much worn and very beautiful. Gems of all kinds are literally draped over the shoulders of evening bodices.

Edwardian Era Fashion Chit Chat - November 1901 The Delineator

Edwardian Era Fashion Chit Chat - November 1901 The Delineator

Fashions of To-Day

Close adjustment about the hips and a wide flare around the bottom remain the distinguishing characteristics of the most approved skirts. A new mode, which may be made in one or two piece style, is of circular shaping with habit back and has a graduated circular flounce from beneath which the skirt may be cut away. It is especially desirable for plaided, striped or other fabrics to be made up with matched bias edges or cut on a lengthwise or cross-wise fold in front. The new dip may be given the top.

A five-gored skirt in in-step length with habit back is given a graceful flare arund the bottom by a graduated circular flounce; the skirt may be cut away from beneath. Corduroy and wool fabrics will develop admirably by the mode.

Short coats or jackets are particularly stylish when they are worn with a skirt of the same material, though they are fashionable made in melton, kersey or covert in some contrasting shade. An unusually smart design shows a close-fitting back and dart-fitted fronts that close in double-breasted style. The sleeves are in bell shape at the bottom. Another mode is in double-breasted style without the darts. Rows of machine-stitching will provide correct completion.

The closing at the back continued to characterize many of the newest shirt-waists or blouses. Clusters of tucks in yoke depth with two clusters extending to the waist on each side are the distinctive feature in the front of a pretty shirt-waist that is closed at the centre of the back: a cluster of tucks on each side of the closing is another pleasing item, and the bishop sleeves have three clsuters of tucks extending to within a short distance of the bottom, where they form a puff; wristbands give a neat finish. Soft silks and woolen fabrics are suitable for the development of the mode.

A tucked fancy collar is the distinctive feature of a new bodice that has a whole, smooth back and slightly bloused fronts opening over a vest. The upper portions of the sleeves are tucked in a lengthwise direction and may be in full-length or elbow style. An association of fabrics is suggested by this design.

A new two-piece costume adapted to smooth cloths as well as rough materials consists of a double-breasted jacket and a seven-gore flare skirt with habit back and a graduated circular flounce which may be omitted or from beneath which the skirt may be cut away. A velvet rolling collar and turn-back cuffs lend distinction to the mode, and machine-stitching provides a suitable finish.

A shirt-waist closing at the centre of the front has a whole back with slight fulness at the waist-line, and becomingly bloused fronts with three wide tucks arranged in yoke depth. Bishop sleeves completed with narrow strap-bands and a removable collar further characterize the mode, which is well adapted for developing light-weight broadcloth, corduroy and French flannel. Fancy braid and buttons may be used to trim or applique or Persian bands can be substituted.

A jaunty short jacket is distinguished by vest sections and dart-fitted fronts. Fancy vesting will combine well with either plain or novelty goods in this mode, and machine-stitching and bullet buttons may be used to decorate.

Norfolk effects in shirt-waists as well as jackets are one of the most important features of the season's styles. Norfolk plaits are laid on both the back and fronts of a smart shirt-waist having a front closing. The blouse-bishop sleeves are completed with cuffs having turn-overs. The stock, which is removable, is also given an attractive finish by turn-over sections.

Tucks that are stitched to form box-plaits individualize a stylish shirt-waist, which has the closing at the back. The blouse sleeves are tucked to correspond with the backs and front, and the removable collar is also tucked. Soft woolen fabrics and silks are alike appropriate for development by this design.

Sleeves in elbow length will continue in popular favor for evening or dressy house-gowns during the Winter, and a pleasing example may be completed with a straight or circular frill with decoration applied to suit the wearer.

A new corset-cover combining both attractiveness and utility, and designed especially for wear beneath waist that have the centre-back closing, has a full bloused front and smooth backs with the closing at the centre. The neck may be round or square, and the short puff sleeves used or not. The mode can be simple or elaborate, lace or embroidery providing the trimming.

Effective in developing soft woolen fabrics and dainty silks associated with all-over lace is a tea-gown that has the back and fronts tucked at the top in a slanting direction to yoke depth; it may be made with a high or V neck and full-length or elbow sleeves, and with or without the fancifully shaped bolero.

Edwardian Era Fashion Chit Chat - November 1902 The Delineator

Edwardian Era Fashion Chit Chat - November 1902 The Delineator

Fashions of To-day

A chief characteristic of the new waists and bodices is the drop-shoulder effect, achieved either by the shaping of the garment or by the disposition of the trimming. An attractive example has a drop-shoulder yoke that may be fashioned of all-over lace or the same or a contrasting fabric. The Duchess closing is another feature, and the sleeves may be in full or three-quarter length bishop style.

A tucked waist, showing the drop-shoulder effect, closes at the back and may be made with high or round neck, full-length or elbow sleeves, and with or without caps in drop-shoulder outline. Lace and silk or soft silk-and-wool materials will make up with charming results.

That skirts will remain close-fitting about the hips and with the decided flare around the bottom is indicated in the newest designs. This effect is achieved in a nine-gored flare skirt in frou-frou effect at the lower edge. It is closely fitted to the knee and may be in habit style or with an inverted box-plait at the back. It is known as the eel-skin or mermaid skirt and is appropriate for the development of handsome cloths and velvet. The seams may be given a decorative finish by stitched bands of cloth, silk, or satin, or a fibre braid, with fancy edge, may be applied.

A novel style is expressed in a skirt made with habit back and consisting of a five-gored foundation skirt and a circular portion with a centre-front seam and in tunic depth at the back, where it is lengthened by two circular flounces. The mode is adapted to both plain and figured goods and suggests innumerable decorative effects.

Net, lace, tulle and mousseline are equally suitable to the fashioning of a charming new costme consisting of a waist closed at the back, with high or low-necked drop-shoulder yoke, cap or three-quarter length flowing sleeves with or without under-sleeves, and a five-gored skirt with inverted box-plait or gathers at the back and with or without the graduated circular flounce, from beneath which the skirt should be cut away. Tiny lace-edged frills of the material are a graceful trimming for both the bodice and skirt.

Good style marks a new costume that consists of a blouse Eton jacket that may be made with or without the peplum and flare or cape collars, the sleeves being in flowing or bishop style, and a seven-gored flare sheath skirt that may be in habit style or with an inverted box-plait at the back. Both plain and metallic-printed velvets and velvet cord suggest attractive possibilities.

A Monte Carlo coat that will be equally attractive in silk or lightweight cloth may be in three-quarter or hip length, and its distinguishing characteristics are the drop-shoulder yoke and an Ascot stock that may be omitted.

A more practical top garment and one suitable for cloth or heavy woollens may be in automobile or short three-quarter length, with flowing or regulation coat sleeves. The shoulder and sleeve straps may be omitted.

Quite the smartest design for the coat to be worn with walking skirts is the loose or box Norfolk mode, with stitched straps and belt of the material, which should be of a heavy, rough texture preferably.

Those who affect "mannish" styles will appreciate a new frock coat intended for wear with a shirt-waist or with vest or chemisette and also adapted to equestrianism, either for the cross or side saddle. Plain material such as cloth or cheviot is used to develop this garment.

Edwardian Era Fashion Chit Chat - September 1902 The Delineator

Edwardian Era Fashion Chit Chat - September 1902 The Delineator

The Fashions of London

The most popular of all the dresses fit to grace the ordinary occasion has been the frock of foulard, the smallest designs being chosen for this, and white sharing with cream colour and black the patronage of the multitude, and invariably bearing the trimmings of cream lace with velvet ribbons. Were I asked to remark upon the most novel feature of the season's fashions I would say the hat with the pendant drapery over the hair at the back, this having been made either in chiffon, or in lace, or in ribbon, and striking without doubt an extremely picturesque note. Indeed the picturesque has been predominant alike on millinery and modes; and besides these hats with the loosely falling ends some beautiful examples have been produced with high crowns, made of tuscan encircled with glace silk held with a diamond buckle, bearing a shaped brim as a resting place for black ostrich feathers. The black hat certainly has not occupied its usual place in our regard, maybe it has been paying the penalty this year for its ubiquity last.

For those who are wandering down to the sea to take their holiday the linen and pique gowns are the most useful, and some very excellent specimens of ready made pique dresses are purchasable in good shops at a moderate price, these being trimmed with embroidered spots and coloured machine-stitchings, and made with blouse bodices and fanciful collars and plain skirts with shaped flounces.

An excellent garment which has made its bow this year is a copy of the soldiers' coats, and made in dark blue lined with Guard's red, with a straight collarband faced with red velvet, and with military gold buttons as the sole decoration is extremely smart. I have also seen the same garment effectively achieved in Sutherland tweed in white irregularly streaked with black, the collar faced with black and the lining white satin, the gold buttons being repeated on this. Such a coat is really an invaluable possession for the holidays, and another no less indispensable is the serge or tweed dress made with a short skirt; and all short skirts should be lined flatly having no separate foundation and fastening down the side of the front; thus only do they make for comfort and lightness of weight. A capital specimen of a dark blue serge dress I have seen made of that quality of serge which we generally associate with masculine clothes, small of rib and quite smooth of surface and very dark in colour, and this was fashioned with a skirt such as I have described, and completed with a bolero coat overhanging a very narrow belt, and bearing a square shaped tail in the centre of the back, the front of the coat opening to display a facing of white linen bordered with a black and white striped drill outlined on either side with a small black braiding. An effective white serge may be arranged with a trimming of blue and white and red, the colours of the year, made into a galon outlining the triplet skirt and bordering the sac coat, which should fasten down the front with pendant tassels made of red, white and blue silk. This worn over a cream coloured lace shirt, and crowned with a white straw hat bound with red straw, trimmed at intervals with very small red straw rosettes and with a large coquillage of red and white ribbon at the back, looks extremely well.

Dress for the evening at the hotels abroad is a question very worthy of consideration at the moment, and white lace and black lace may be taken to represent the ideal materials, and since the quality of these may be varied it is easy to realize that the like may be made to suit the extent of any pocket. Capital dresses are made of black lace in combination with white lace, and the yoke or top portion of the bodice is invariably left transparent. Elbow sleeves, or sleeves to the wrist are alike popular, the former perhaps are more in evidence than they have been for some time. All lace dresses should be lined with soft satin covered with chiffon, the chiffon having a very gracious influence beneath the lace.

We have been welcoming novelties in gloves and in shoes, the former of white kid in mousquetaire shape with the gauntlet portion lined with coloured kid, undoubtedly chic, new, and, alas, most expensive. White kid shoes worn with stockings to match the colour of the dress have also been recognized as desirable by the owner of small feet, and the most elegant of all foot gear at present is undoubtedly the gray Suede shoe which is worn with stockings in a shade of gray to match.

Petticoats are not so elaborate as formerly, the white cambric trimmed with embroidery has re-appeared, and the white silk petticoats are admirably trimmed with rows of black velvet ribbon. A pretty fashion is the insertion of lace bows with the black velvet ribbons to border the frills, and the fancy still obtains for pale coloured silk petticoats worn beneath white linen dresses, glace silk being invariably the fabric chosen. Black and white checked taffeta is an economical selection for a petticoat, and rows of narrow black velvet ribbons may be recommended as the most appropriate trimming for this.

When, if ever, we quite exhaust the charms of the chiffon evening dresses there is no doubt but that we shall turn our attention to dresses of brocade, and these are much to be commended by reason of their durability, and the many uses to which they may be put after tey have done their duty for evening wear. You can turn an old brocade dress into a petticoat, or you may allow it to make a teagown, and again it may make a tea-jacket; but with the chiffon gown when its first freshness has fled its last charm has departed. Of course the lace dresses do duty under different guises, and but recently I saw a lace train most cleverly arranged to form an evening coat, lined with chiffon with the borders ruffled with chiffon; this had much to commend it, though it engendered no warmth it was quite sufficient for a warm Summer night.

Edwardian Era Fashion Chit Chat - March 1905 The Delineator

Edwardian Era Fashion Chit Chat - March 1905 The Delineator

Dress and Gossip of Paris

The first impulse, on seeing the early Spring models each year, is to exclaim that there is "nothing very new." With inspection, this impression gives way to a second: that "none of one's old things will do!" Though the Winter has been so late that the enthusiasm has been as yet slack, still there are both charming creations and attractive adaptations offered to those who are ready to begin now for planning another season's shopping.

Among the new materials the crepons gauffres are graceful and becoming. Embroidered cashmere and the supple camel's hair will be used again. Barege will be perhaps the most popular of the Spring goods. For dressy wear silk will be worn; grosgrain, peau de soie and the heavier ottoman. And for evening, in addition to the lace and embroidered crepe dresses, there will be a great number of black nettings over white, and more tulle than chiffon gowns.

There is a decided logic in the fashions, and those who consider the change in styles due merely to the passing whim of one or two leading couturiers are in the wrong. For example: from the moment that the skirts began to grow full about the hips it was necessary for the gathers in the sleeves to move gradually upward. Now that the leg-o'-mutton sleeve has been adopted, it has become quite impossible to wear the boas which were for so long indispensable with the sloping-shouldered gowns. Also, with this new fulness of sleeve near the neck, the drooping, sweeping hats are quite out of the question. Hats have tossed themselves upward as though to escape from encroaching lines, and one by one these changes have brought about in a few months the complete transformation of the feminine silhouette. Now we must look for a small waist; round hips; sleeves, if not short, at least an inch or two above the wrist; hats that perch like tiny crowns, or that seem but the point where a panache of waving plumes takes its hold.

This change in the length of sleeves is an important one. It is no longer possible with afternoon gowns to wear four-button gloves; the six and eight button lengths are required, and the space of an inch or two above the wrist, looking bare to us, may be covered by a bracelet. The chain bracelets set with stones are no longer fashionable. Heavy circles of jade, gold bands with a solitaire or with a fancy setting of stones, even the old flat gold bands, are much worn.

Skirts are stiffer, and the fulness is beginning to fall more regularly, as though wishing to get back into the godets of the past.

Chenille trimming is the prettiest thing that can be used with the barege and cashmere dresses; velvet, also, in fancy designs mounted on tulle, and applique, braids and galloons are equally favored for trimming the corsages. It is considered chic to use a bit of antique silk as a vest or for the finishing notes of a smart street frock.

Peacock feathers are among the original hat trimmings, and the uncurled ostrich plumes, once the taste for them is cultivated, make the other feathers seem commonplace. They are used chiefly in the natural tints, beige, brown, gray, buff, and also in black. The curled plumes must be used only with the spine turned inward and the tendrils curving in such a way that when the feather is bent none of the quill shows.

Among the Spring creations are the "tea hackets," so convenient because suitable for many occasions. A pretty "tea jacket" worn in one of the recent comedies is made of "sanguine" (flame colored red) crepe de Chine embroidered in multicolored flowers which give body to the otherwise too supple stuff. The fringes of this crepe shawl form a bertha in front and fall over the sleeves, which, like the vest, are made of soft creamy lace. The waist is encircled with a snug black satin belt which leaves the jacket loose in front.

The graceful new models for street wear are legion. Among them let us note this one in "lead" colored cloth. The skirt is plain, full and round. The coat falls almost to the hem of the skirt. Down the front and at the back sleeve seam there are strips of taffetas stitched with heavy silk, and over these strips the cloth is fastened in points, each one of which is finished with a button.

The automobiling coats have so decided a style that the intention of dressmakers regarding the ordinary coat is to get as far as possible from the loose hung outing garments. A smart manteau in the new Directoire style is made in cloth, trimmed with Irish lace over a collar. The front is tight fitting, and cut away from the waist; the back, on the contrary, is long, loose fitting and full, giving the effect of a clergyman's surplice. This model is becoming and graceful, and at the same time is in accord with present tendencies in style.

Jet in embroidered patterns is much used on dinner and theatre gowns. Very pretty effects may be obtained on the black netting gowns over white silk.

Though street dresses are rather severe, those which go by the name of "house dress" and also the evening gowns are much trimmed with garlands of roses, ruffles, ruches, lace flounces, spangled ribbons and all manner of fantasies.

The main thing to be observed, after the choice of a dress has been made, is that all the accessories shall be in keeping.

Edwardian Era Fashion Chit Chat - June 1903 The Delineator

Edwardian Era Fashion Chit Chat - June 1903 The Delineator

Dress and Gossip of Paris

One of the prominent dressmakers, whose family has been engaged for several generations in creating dreams of fashion, recently made this interesting remark regarding clothes, at the same time throwing a strong light upon the occupations of the modern woman as compared with the woman of fifty years ago: "Formerly," he said, "we used to devote our attention particularly to the 'house dress,' the 'robe d'interieur.' Now it has practically disappeared, and we make instead every variety of street dress, from the costume with short skirt for morning wear to the elaborate creations which our customers don for afternoon outings.

The street dress has also reached a degree of charm and perfection which recommends it to the lovers of feminine grace. The soft materials of this season, the ample skirts and full sleeves, the drooping collars, the large, simply trimmed hats, all combine to give the modern woman the same romantic, enchanting appearance as the grandes dames of bygone days. And the infinite variety permissible in styles, materials, colours, makes it possible for a woman to change all but her personality a dozen times a day. A Summer morning begins, for example, with a short skirt of white duck; this has a small yoke around the hips and from there falls in pleats to the ankles, which are encased in white gaiters. A bolero, also pleated and hanging loose from the shoulders, covers a chemisette of white batiste trimmed with narrow ribbons which pass in and out of the eyelet holes embroidered in the muslin. A soft white felt hat is kept from being commonplace by a large red poppy placed at one side over a bunch of green reeds which encircle the crown.

Later in the day, between golf and luncheon, the peignoir and the matinee reclaim the woman from sport to femininity. A charming matinee is made of white dotted muslin with insertions of lace, the whole accordian-pleated and held in by a broad pink satin belt which appears only in the back, leaving the front loose. Around the hem is a deep, full ruffle of pink chiffon, which is repeated over a broad turn-over collar. A peignoir for Summer days is made of pale blue silk-chiffon, which hangs straight from the shoulders. The armholes are cut out from the waist to the top of the arm, so that the short sleeve is enormously full, and the only trimming is a stole of guipure which falls to the hem and has two capes over the shoulders.

The very latest thing in materials is toile de soie or silk linen. It is made in China and is the light brown colour of pongee, and it may be striped in a colour or have a plaid design. It should be made up with a certain simplicity of design. Foulards and Liberty foulards with enormous patterns are worn. Very often the pattern begins small and increases in size toward the hem, where it forms a border.

Borders of all sorts are greatly the fashion. Plain linens in pale colours are made new and irresistible by the addition of an embroidered border. The design is generally in small flowers, in dots or in open circles, and the embroidery is in silk and linen. Not only on wash goods are these bands used but also on nun's veiling. They make the trimming of a dress with the addition of lace. For example, a grey nun's veiling has the entire skirt in pleats, on every other one of which is stitched a band embroidered in pale green and blues. It grows larger toward the hem and is repeated in miniature on the full sleeves and on the deep Louis XIII collar.

A dress somewhat difficult to wear but which created a furor at the vernissage was in white cloth as thin as linen. The skirt was made with five flounces, and each flounce had an embroidered band in Oriental colours and two black ribbons run in and out of the holes made for the purpose. The sleeve was trimmed in the same way as the flounces, and over the shoulders was a cape through which the ribbons passed, continuing to the waist, where they fell in two bows. The large hat turned up at one side, and on the other was a jobot of lace which ended at the shoulder.

It is correct to wear a veil of the same colour as the hat, with fine close chenille dots, and the hats themselves are generally of a solid colour. A round morning toque is made of shiny bright green straw, which is braided into a full brim that makes a trimming of itself. A bright green veil gives the finishing touch to this startling Spring acquisition, and the dress that accompanies it is made of brown mohair trimmed with silk fringes and a narrow collar of Irish lace.

Another hat is in pepper red straw; it turns up at one side over a bow of pepper red satin dotted in velvet, and a solid red veil must be worn with it. The costume for which it has been chosen is in the new voile de soie with a heavy plaid design in pepper-red plaid. It is made with a pleated skirt set onto a yoke under a band of red stitched taffetas which is repeated on the bolero. Black and white, has, except for half mourning, completely disappeared.

The jewellers have combined with the milliners to create a head-gear which, while it serves as hat, has no inconveniences for the theatre. It consists of a close-fitting, very small bonnet, something like a baby's cap, made of lace of guipure over a frame; the only trimming are two jewelled horns, or antennae as they are called. They lie furled close to the head like a butterfly's antennae and are made of diamonds or colored stones. With the hair dresses low in the neck the effect is novel.

An exquisite evening dress which has lately been created by one of the large houses is made in the following combination: The skirt, which is made of black crepe de Chine has an overskirt in three flounces of chenille fringe. Each flounce has a border of jet and spangles. The waist is low necked, with two straps of jet over the shoulders, and the trimming is a deep fringe of chenille held across the front of the bodice by a band of jet. In the hair are worn two black chenille poppies with jet centres.

Among the most recent achievements of French women are those of Madame George Victor Hugo and Madame Emilie Carlier. The latter has just received the cross of the Legion of Honor because of her heroic conduct during the Armenian massacres of 1895, when her husband was Consul for France. Madame George Victor Hugo is publishing a series of notes from the journal of her voyage last Summer to the Arctic Ocean, Jan-Mayen Land and other regions where no woman had ever penetrated. Her account gives a vivid picture of the adventures which attend any expedition into the unexplored north.

Edwardian Fashion Chit Chat - March 1905 The Delineator

Edwardian Fashion Chit Chat - March 1905 The Delineator

Fashions in New York

As individualism in matters of dress becomes more pronounced, the boundary lines of fashion grow more and more vague. The French woman breathes in the spirit of the moment's fashion and expresses it in a hundred different versions suited to her particular demands, and the American woman - who was once a slave to Fashion's every whim - has likewise learned to appreciate her own charms and refuses to adopt unquestioningly every vagary in dress. Happily there are becoming styles for everybody in the present-day modes.

There are many unusually attractive designs for Spring, and chief among them is the shirt-waist dress. Both plain and fancy effects will be worn, the style depending entirely upon the occasion. All sorts of materials will be used to make these smart, practical dresses. For morning wear the silky mohairs in either plain or plaid effects are newest and at the same time most practical, while for the dress that is to have a touch of elaboration there are pretty silks, with taffeta in the lead.

There is nothing like a trim, becoming tailor-made for all-around use. In plain, lightweight cloth, with the skirt just escaping the ground, and jacket with gracefully shaped sleeves large enough to take in the blouse sleeves, such a suit may literally go from the shops to the drawing-room musicale. For the morning jaunt a tailored shirt-waist is worn with this costume, and a simple turban and heavy gloves complete the outfit. For afternoon, the same suit is accompanied by a dressy hat, light gloves, and a blouse either of pale-tinted silk or of the lingerie order.

There is infinite variety in the Spring coat. It ranges from the jaunty, abbreviated bolero to the graceful, enveloping redingote. There is still the blouse, which, like the bolero, refuses to die, and which in some of the newest garments preserves more than a suggestion of the pouch. Then there is the Directoire coat from the historic shape to a modern guise in which only the name preserves its classification. It is a significant fact that the Directoire coat, with all its possibilities for spectacular treatment, has not become common. The redingote is the garment of the moment. As a matter of fact, it is a garment not to be worn by every figure, or utilized for all occasions. It is fitted closely at the waist but gracefully ample of skirts. Until late in the Spring the velvet redingote will be worn.

Drape effects characterize the simplest shirt-waists as well as the dressy gowns; but these swathed bodices require skilful adjustment, and a well-fitted lining is essential. There is no disputing the fact that silks are to play an important role in Spring fashions. A satin finish makes them appear wonderfully soft, and they are light in weight. The same qualities in cashmere make the material particularly practicable for the draped waists and puffed sleeves, and the color card shows it in all of the season's shades.

The last cry in things fashionable is shaded leather, especially in the form of belts and stocks. All of the modish colors, rich reds, browns, bronzes and grays, are shown, each in all of its shades. These leather accessories are finished with buckles of hammered copper or silver and buttons to match are used.

The same handsome fabrics that are used to make the top garments of older persons are suitable for the small maid's coat, and, while the same designs are not employed, there is similarity in the long lines and the graceful fulness that characterize them. The softest cloth weaves, silk and pongee are suggested for the dressy little coat, while that intended for greater service may be made of heavy serge or cheviot. Even in these tiny wraps is the vest introduced, suggesting a harmonious combination of materials as well as of colors. The hats in lingerie style are much in evidence, and a new model is called the "Charlotte Corday."

The trousseau of the Spring bride is now being discussed and planned, and among the most interesting details of this outfit are the dainty negligee and lingerie garments. If the bride be clever and have the leisure, she will fashion them herself. There is a fascination in handling the delicate materials that enter into the construction of the pretty modes. The Empire styles are delightfully carried out in the soft silks and silk-and-wool fabrics, and the most effective house dresses and negligees. A deep cape collar or bertha, or perhaps a softly draped fichu, is a feature of some of these negligees, while puffing, shirring and tucking enter into the decoration.

The lounging robe to be worn only in one's boudoir may ba an attractive garment, though simplicity is essential to its comfort. The printed challies, Oriental crepes and silks, and plain colored woollens are used, and a ribbon sash can be added if desired. The graceful styles of the Orient are admirably suited to these negligees. The dressing sack, or matinee, when prettily made and of a becoming color, is a fascinating garment and may match in color the skirt with which it is to be worn. A lace collar that has long been laid away may find new use in adorning the dainty matinee.

Edwardian Era Fashion Chit Chat - September 1902 The Delineator

Edwardian Era Fashion Chit Chat - September 1902 The Delineator

Dress and Gossip of Paris by Mrs. John Van Vorst

As yet there is no change in the general form and outline of the dresses to which we have become accustomed during the Summer months. A continued narrowness at the hips, a fulness in the skirts at the hem, a sleeve wide and ample at the wrist and tight-fitting at the shoulder are still the points to be observed in planning a demi-saison costume. Details vary from one week to another, and if the dressmaker sighs because everything is being worn, she has reason to be satisfied at the luxury and extravagance which women agree are necessary to fashionable dressing nowadays.

Two colors, long disused, have become suddenly a fad; they are not becoming and have nothing but novelty to recommend them; they are yellow in all shades from the brightest to dark orange, and blue of the intense brilliant tone which is ever trying to most complexions.

Hats, which have been amazingly flat for some time, now turn boldly up at one side, leaving a wide brim-space upon which is bestowed a plume, a succession of wings, a small garden of fruit: peaches, apples, raspberries, strawberries, currants or cherries. The ostrich feathers used for this sort of trimming are of several shades, deepening from the palest to the deepest at the tip which falls over the hair, on to the shoulder, and sometimes even as far as the waist. Certain hats have a drapery of white lace in the back which looks like a wedding veil, and is mal porte except for those who do not leave their carriages in an afternoon promenade.

Since nothing is new under the sun, it is some former annals of fashion we must consult for the origin of a present whim among the elegantes. They have taken to wearing lace mitts with their elbow sleeve dresses, and for those who have pretty hands the effect is quaint and charming.

No woman can look well-dressed unless she be properly corseted, and quite as important as the corset itself, its shape and fit, is the way in which it is put on. It should be unlaced as far as possible, fastened, pulled well down, the garters should be clasped, and then the lacings should be drawn in beginning with the lowest eyelet, lacing to the waist and tying; then beginning again at the top and tying a second time at the waist. Nothing ruins the figure more rapidly than to imprison onself by a corset already laced up.

Serge and the rough materials of the same family are being replaced for late Summer and early Autumn wear by light cloths, cashmeres in plaids and checks. A most useful dress is of navy blue material trimmed with very narrow bands of embroidery in Persian colors. These embroidered bands are set on between bias strips of taffetas, the whole not more than an inch wide. They follow the line of a flounce en forme, and encircle the collar and sleeves, bordering the revers and edge of the jacket. Nothing is more popular for dark dresses than this Persian embroidery. Etamine, fine and coarse, is very much worn. It is trimmed with taffetas of the same color, or sometimes has a series of bias bands on each flounce in black and white striped or chine silk, which is very effective. Scarlet etamine dresses, gray, blue and brown, are also popular with guimpes of ecru linen and guipure.

With the autumn skirt-and-coat suits it is to be the fashion to wear tight-fitting vests of linen or of guipure over a color. The collar accompanying is in white linen, the cravat of black satin.

But of all things to which the mutability of fashion seems to have directed itself this season, the first in importance are the coats, cloaks or manteaux as they are called. If it be true, as we hear it affirmed, that no woman is properly equipped without a manteau, it is equally true that a manteau serves for a great variety of purposes. It is suitable for coahing, for driving, for the theatre, for a short journey to some out-of-town or in-town lunch party, for an informal dinner, etc., etc. They are made in all colors, scarlet, mignonette, green, champagne, putty, brown bread which is one of the favorite tints, not Boston brown bread but the more delicate Graham. They are also made in white and in black. Cloth is the only material used for these enveloping garments. They fall below the knees, are collarless, have immense sleeves caught in at the wrists, and are held together in front by long twisted silk cords, which tie and have tasseled ends. In these respects they are uniform. In the matter of trimming they vary from the simplest, which are the most attractive, having only a broad band of fine guipure about the neck, to the most elaborate, which are encrusted in strips of real Irish lace. They have a white satin lining, and sometimes they are made with a cape which falls over the arms and dispenses with the necessity for sleeves.

There never was a greater display than at present of white lace dresses of every description for afternoon and evening wear. Irish lace, English embroidery, Chantilly mixed with Cluny are worn in abundance and in a profusion which sends us to hunt through the forgotten heirlooms lest there be a dozen odd bits of as many sorts with which we can make at least a bodice!

Golf has at last become the fashion in France among French people as well as Americans. A club has been opened in the charming neighborhood of Versailles. And if, as it is often said to-day, we resemble the women of long ago in our voluminous modern costumes it is safe to say that could the ladies of Louis XIV's court stroll by chance over the enchanting hillsides of the Seine et Oise, they would see nothing of themsleves in the sisters who swing their golf sticks, free, unhampered in short skirts and cotton blouses, over the links at La Boulie. Golf costumes of a single color are the favorites, trimmed with bands of cloth in a lighter or darker tone of the same color. Unobtrusive as well as gay effects are in evidence, red predominating.