12
THE COURIER
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FASHION
NEW YORK, March 1. For several
weeks past two of the Broadway thea
tres have been presenting plays In
which costumes supposedly thoroughly
up-to-date gowns have been playing
the leading roles. "Frocks and Frills,"
at Daly's, and "Lady Margaret," at
the Bijou, both adaptations from the
French comedy, "Les Dolgts de Fee,"
are elnborate studies in the possibili
ties of feminine fashions. Aside from
these sartorial features, the produc
tions are of little value, yet crowded
houses have been the rule, indicating
that robes a la mode possess a draw
ing power quite as effective as bril
liant stagecraft. As a matter of fact,
however, the gowns have been much
overrated. With a few exceptions,
they are neither novel nor striking.
Miss Bingham's company, in "Lady
Margaret," have, I think, rather the
better of the battle of garb. The one
really artistic confection which Miss
Bingham shows is a Paquin costume
of gray, that she wears in the second
act, and that suits her admirably. The
skirt, of gray chiffon over lustrous
gray silk. Is fitted tightly to the knee,
where a full flare is outlined by Span
ish lace insertion, sparsely spangled
with tiny pailettes. At the middle top
of the tlare there is an odd ornamen
tation in the form of a double bow
knot made of ropes of chiffon on cord,
each end finishing in a silk tassle. The
bodice, entirely of Spanish lace and
paillettes, has a short skirt over the
hips, and a front girdle of satin. The
lace is fastened in front, at the top,
with four large Rhinestone buttons,
from which fall cords and tassels.
These also finish the back of the bod
ice at the waist line. The sleeves have
the long top cap of lace, with a fullness
of chiffon beneath, caught into the long
lace cuff. I have rarely seen anything
so beautifully fitted as Is this entire
frock, and particularly the skirt, an
other novel feature of which was a
strip of lace extending the length of
the back from the waist to the end of
the train. The hat has the general
effect of being made of folds of the
most delicate shades of green tulle,
trimmed over the top with white roses
and deep green leaves. It turns up
well from the left side, and Is strik
ingly ornamented with one large chou
of dark green velvet ribbon, followed
by another of a more delicate shade,
the ends of which trail over the hair
to the shoulder. With this costume
Miss Bingham carries a white closed
parasol, with roses and leaves wound
about its long handle.
The gown wrorn by Miss Spong in
this act, at Daly's is not nearly so ef
fective. Green in color, with brocad
ed velvet flowers, it is trimmed with
scraps and ruchings of a paler shade
of chiffon. With it Miss Spong carries
a large green chiffon muff, and wears
a most hideous hat- She is not over
tall, and her extremely long gowns,
"combined with this flat little green
hat, with its black lace tabs falling
..over the hair, make her look positively
squat.
All the Daly skirts are too long.
"Nearly all the women have to lift
them in front in order to be able to
walk without tripping. As a result, the
bottoms of all the skirts, front and
sides (one doesn't mind the train), are
almost unpresentably soiled to dis
tance of at least four inches. The
pale blue corded Iridescent silk which
Miss Bingham wears in the last two
acts is also worth describing. It Is a
rather elaborate affair In which to
take orders, but this, perhaps, is to
remind us that Lady Margaret Is not
a "really-and-truly" dressmaker, even
If she does eat the toast like an over
worked modiste. This had the same
inevitable sleeve cap of velvet, chif
fon middle, and lace cuff, that adorns
all save one or two of the gowns, and
it had, too, a high Collar of lace. It
wus cut prlncesse, quite plain in the
back, and had a wide stitched collar
over the shoulders, with ends reach
in to the waist. A very long, old
fashioned, heavy gold chain, falling to
the knees, was worn with this, ending
with a turquoise cross set In old gold.
Miss Bingham wore also a necklace of
turquoise.
Lady Margaret looks very charming
and pretty In the white canvas gown (
and Tarn O'Shanter cap In which she
makes her first appearance. The skirt
is made of inverted box plaits stitched
flat and left flaring at the bottom. The
bodice has a many-pointed yoke of
Irish lace, and the sleeves have a
wide-fitted lace cuff. From above the
elbow to the cuff the sleeves have that
same fulness of chiffon let In to be
caught again at the cuff. In the third
act Miss Spong Introduced a white
costume, the skirt of which was an
exact duplicate of the one I have just
described, except that it had an Inser
tion of filet lace about the bottom. The
sleeves were identical. The bodice was
of heavy lace, on a filet foundation,
made in one of the Katun shapes, end
ing in slashes bound with cloth. One
large pearl on a gold bar fastened the
lace In front. It was a more appro
priate gown than Miss Bingham's, but
not so elaborate.
The diamond gown made for the
Queen of Portugal, In the Bijou pro
duction, and the heavy lace fiounced
prlncesse, with pearls and large con
csive pailettes of silver interwoven,
made for the Queen of Sriln. at
Daly's, Jtre both disappointing. The
"diamond gown" has no diamonds
anywhere, save three or four rows on
the bodice, surmounting an apple
green panne velvet girdle. The skirt
is bead-covered. At Daly's I could not
help thinking what a pity it was the
Queen of Spain let Clotilde sioil her
lovely lace gown by those tawdry
pailettes. It seems to me a mistake
to have so much duplication In the
costumes of the minor characters in
the two productions, particularly as
the chief theme of the plays is fash
ion. Minnie Dupree, in .the first act
at the Bijou, wore a gown made ex
actly like that worn by the head fitter
in the modiste's establishment at
Daly's. The plethora of copies of the
Paquin sleeve I have already noted.
Again, all the models wore princesse
gowns, much bespangled. At Daly's
the models were short, thin and plain
girls. At the Bijou they were tall,
thin and plain. In fact. Miss Bing
ham has surrounded herself with a
group of abnormally tall women, and
I never did think this sort looked their
best in prlncesse gowns. The sleeve-'
less model gowns, by the way, all .have
tulle knotted just below the shoulder
and falling over the arm. They are so
similar, save in material, that I fancy
Miss Alice Fischer's shriek upon see
ing each model enter, "Quel jolie petit
robe!" must be a bit of irony.
Cora Tanner, as Lady Gloster
Gioster, wore a wonderful gown of
heavy lace and broadcloth, and a fas
cinating toque. All the hats have
either lace or ribbon falling nearly to
the shoulder from the side or back,
and most of them are charming.
If Miss Annie Irish were not so pret
ty she could never afford to wear the
hideous gown a purple combination
in which she visits the famous dress
maker. A coat of purple moire, trim
med with Irish crochet lace. Is worn
with this, and is worse, if possible,
than the gown. But the ha.t almost
redeems the frock and coat. It Is a
mass of violet plumes, of lovely shade.
Lady Pomeroy, at Daly's, wears, and
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HANNA and
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describes for her men callers, a negli
gee in cream lace, with bolero and
sleeve cuffs of yellow and silver
spangles. This Is beautifully made
over an accordeon-plalted slip of white
chiffon, the lace llounces all finished
with dainty chiffon ruchings. At the
Hijou there is no negligee, but Miss
Irish, at the same stage of the play,
wears a girlish pink-white-and-yellow
affair, spangled. Lady Modish In
Town topics.
I PAUNCEFOTE IN
UNENVIABLE POSITION
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Lord Pauncefote.
Who would care to be Lord
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In America by the controversy.
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