November Fashions

Title

November Fashions

Description

Thoughts on the most fashionable jewelry and materials of the season, including designs for cloaks, capes, and bonnets. Closes with news of Paris fashion.

Creator

Johnstone, Mrs.

Type

fashion column

Coverage

pp. 41–48

Text

Years and years ago, worthy Philip Stubbes waxed eloquent on the subject of earrings. Speaking of women, he wrote:— "They are so farre bewitched as they are not ashamed to make holes in their ears whereat they hang rings and other jewels of gold and precious stones. But what this signifieth in them I will hold my peace, for the thing itself speaketh sufficiently." Apparently now, in this year of grace 1887, other people have come to think as he did, for earrings have gone out of fashion. Satirists and critics may inveigh as they like, apparently sermonising does little good, unless La mode goes with them. Holbein, Albert Dürer, Cellini, and a host of other distinguished artists have not disdained to apply their talents to designs for women's ornaments. Now it would seem that quaint and homely articles serve for the models which please women most, especially for pins and brooches, and it is only occasionally that we fall back upon those fine old mediaeval and Etruscan patterns which, in point of beauty, have few rivals. Nevertheless, the curious merry-thought, and peacock's feather brooches in our illustration, would please most people; they are all encrusted with diamonds, emeralds playing their part in the feather, which is a faithful copy of a real one.

Diamonds and pearls are most fashionable. Possibly at some remote period every diamond in the world has formed a part of a growing plant. Science teaches us to regard them as concentrated gas and sunbeams, with a small percentage of ash or earthy salt, and worldlings are apt to remember that, besides enhancing their charms, “Diamonds are portable, and that diamonds are property." Pearls would seem to suit only young and pretty women. Madame de Montespan was always bedecked with them, and Ann of Austria possessed the most lovely pearl necklace in the world; they used to be considered the necessary parure of a Maid of Honour. Young girls wear a single row round the throat, and single bangles of pearls are most popular. The bangle in the illustration is made on a new principle, introduced by Messrs. London and Ryder. It expands in opening for the hand to pass through and closes again, fitting the arm closely. There is no fear of its getting out of order. Many of these bangles have been given during the season as presents to bridesmaids, bearing the united monogram of bride and bridegroom, or this Jubilee year, with the date in diamonds. Diamond pins are much worn in the hair, with stars or without them, and the model given above passes easily through the hair, the jewelled point being slipped on afterwards.

All kinds of materials will be worn this autumn and winter, rich brocaded silks, plain silks and velvety, striped silks, heavy matelassés in wonderful amalgamations of colour, which speak well for our artistic perceptions of tints, but woollens will be in the ascendant. Checks and stripes are often worn alone for country and serviceable gowns of a certain class, but there is a disposition to blend the plain materials with the more elaborately-woven fabrics, which are the distinctive feature of the season. There is a long list of small and large-checked velvets made only for trimming, and usually applied as plain petticoats or panels, waistcoats, collars, and cuffs. Velvet weaving has also been applied to twilled and chevron grounds in plain colours entirely composed of wool. The patterns are large and bold, mostly reproductions of the designs which have been handed down to us from the reign of Louis XV and those who immediately succeeded and preceded him. They are certainly expensive, but they make beautiful gowns. The morning dress designed by Messrs. Dickins and Jones, of Regent Street, and here sketched, shows the style in which such materials may be made up. The mode of draping is quite new. The dress is composed of a greyish-blue cashmere, with panels of the woollen brocade, and shows off the soft folds of the cashmere to perfection, revealing, as if by chance, the full beauty of the brocade. The cut of the bodice is novel. The velvet points introduced in front give additional length to the figure, and the use of piping, which for some time has been almost discarded, lends firmness to the edge. It has a habit basque, and velvet forms the revers.

Artists in dress are now compelled to study with peculiar care the lines of the human form divine. The long folds in which so many skirts are allowed to fall are not easy to arrange. The fundamental principle would seem to be to allow the centre of the front to fall as it will, introducing some three or four pleats on either side a few inches below the waist; they dispose themselves differently on almost every figure. The back has to be kept well out by the foundation and under-propping, which should be a steel, placed high up, with only one below it. This necessitates the opening to come a little to the side, and not in the exact centre of the back. A large pouf at the back of the waist is in bad style. What is needed is that the folds should be caught up slightly in the way they most naturally fall, taking care that they do not give the impression of too great width. This is the way in which most dresses are made when they are composed only of one material.

Children are being dressed in woollens also for every day, as well as for evening wear, except perhaps for very full dress occasions, when plush or corded silk is used, but these are the exceptions rather than the rule. There is no radical change in the make of frocks; red and neutral tones are most worn, and some of the plain colours have interwoven patterns adapted to the borders of skirts, and the trimmings of bodices and sleeves. The Norfolk blouse is found to be so useful and comfortable, that many school dresses are in that style. The frock here engraved, made by Messrs. Clack, shows another useful and becoming mode of making. It would be suitable to girls of almost any age from five or six to nine or ten. The skirt is pleated. There is a sash tunic which appears beneath the jacket bodice; this has a pointed velvet yoke which is new. It could be made up all of one tone, or in contrast, as for example the velvet ruby, the dress itself cream, or two shades of brown would look admirably well.

The time has come when a warm mantle is most acceptable. The first in our illustration (p. 45) is well adapted to three purposes: for walking, driving, or evening wear. It is made in a brown figured camel’s-hair cloth, soft, warm, and undeniably handsome. It is trimmed with braided passementerie and lace. Long points of plush distinguish the shape, which is calculated to give a majestic grace to the figure, and it would suit either a short or tall woman. The clasps introduced upon it are very well wrought. It is lined with pale blue striped silk and is very light, which is a good point in long cloaks; it is so difficult to combine warmth and lightness. It can be made in any tone desired, such as a fancy grey camel’s-hair with black trimmings, or if intended for evening only, in crimson velvet. Women with good figures cling to the coat shape; in velvet such coats are apt to wear out too quickly, in cloth they are not important enough for all occasions, but plush has none of these drawbacks; and it is in myrtle-green plush with rich grey, gold, and black trimmings that the coat is made which appears in our sketch. It has a gimp girdle coming from beneath the side revers, and the passementerie and the drooping cords tagged at the tips greatly distinguish it. It has two large pleats at the back, which arc just gathered at the top, and it opens the entire length of the skirt quite in the centre, so there is no fear, with ordinary care, that it will be unduly crushed when its wearer sits down. English women have not yet so far sacrificed themselves to the exigencies of dress as to wear garments in which they can only stand or walk, as fashionable women in other countries have the credit of doing. This coat is lined with satin, and has imitation but important-looking pockets at the sides. Several Royal ladies have looked with favour on this particular cloak, and many of the same style are being made for Sandown and other gatherings of a similar class.

Brocaded velvets, as well as brocaded cloth, are used for this year's mantles, but not much of the least expensive kinds of velvet brocade. Peau de sole façonné is newer and more durable. Hitherto peau de sole has presented a plain surface, and has been principally used for low bodices; now it has been brought out much thicker, solely for panels, and covered with brocade, the design generally in stripes sufficiently far apart to display the ground well, and never very stiff or regular. It wears well and shows off the many beautiful trimmings introduced this season. Velvet as well as silk has met with novel treatment, and for the first time has appeared with a watered surface, and it is of watered velvet that the third mantle is made. It is trimmed with chenille and gold, is pointed at the back, has large sleeves, with fur introduced down the front, round the neck, and on the sleeves. The last figure wears a shorter make of mantle which is also much worn. The material is brown plush, and coral is introduced into the bead work with bronze and tinsel. Labrador fur is used upon it, which is white at the tips. This could be equally well carried out in the fashionable matelasse which when they were worn some years ago established their fame for looking well and wearing well. It is a wonder they have not been re-introduced before.

There will, no doubt, be more black mantles sold this winter than any others, but some of the handsomest Paris models are brown or dark green — naturally they require bonnet and dress to be in unison; whereas a black cloak can be worn with everything, hence its popularity.

Some of the newest bronze cloaks have chenille passementerie and feather trimming of a new kind — cock's feathers being used instead of marabout's. In many of the new galons no beads are introduced, but they are elaborately made with cord, and wherever it is possible a tinsel effect is the result. Formerly only one class of trimming was introduced on one cloak, and if fur was used nothing else was required; now fur is supplemented by galons, and handsome ornaments of every kind, and deep tagged chenille fringes and bead fringes appear from beneath the fur borders.

Elderly women need to choose cloaks with discretion, especially where a reduction of the apparent bulk of the wearer has to be considered. Some of this year's shapes have been designed specially for the purpose, with long, wing-like sleeves which fall at the side in such a way that they combine to diminish the width. A few of these are made in poult de soie façonné, and are light in weight. Many smart-looking mantles are to be had which are not overwhelmingly costly, and some of the newest are made with hoods and trimmed with Russian hare, which, like the Lapland fox, is tipped with white. It resembles many other furs now worn, for it is dyed, and by a clever process the tips, covered with acid, do not take the colour but remain white. Grey furs are worn again, blue-grey of tone after the order of blue fox but darker. The new skin of this kind is called Mouflon, and it is of this that many of the long boas are made which reach to the feet. English women have long throats and wear high collars, and these soft fur boas suit them so well that each year they come back into favour with such changes as the furriers and mantle-makers are able to devise. It must be the hardest of hard work to invent new things, and nobody yet has been able to speak authoritatively and decidedly as to who it is we have to thank for the follies and instances of good and bad taste for which Dame Fashion is responsible. Paris at one time reigned supreme, now she only takes her part, and if any particular success of the moment is traced to its source, it generally has a caprice for its origin, for which a pretty woman is responsible. Sometimes those who provide are able, luckily for them, to induce their customers to buy what they have, and be content therewith, but the public have acquired a habit of deciding for themselves, to drive and not be driven, so there is more of speculation than is altogether desirable when novelties are laid before a critical community, who know what they want and will have it.

Sealskin never goes long out of favour. The newest sealskin jackets are quite short, and are sometimes made close-fitting back and front, sometimes only in the back, loose and double-breasted in the front, fastened with large brown buttons, and having a revers at the throat. Some of the handsomest seal coats reach to the ground, but it is newer to have them made short at the back, long in front, forming two ends, and bordered with fox-fur. To make them complete they must be accompanied by a muff to match. There is nothing very new in the shape, they taper towards the top and widen at the base, and sometimes tiny beaver heads are introduced, or butterflies made in fur, or merely a bow of ribbon. The chief point is that the fur should be good in colour and close in the pelt. Toques are made to be worn with them, with a bunch of cock's feathers or a parrot's head and wings nestling at the side. Toques are large, and many of them are pointed above the face; they were apt to hide the hair in front too much. The Olivia cap, followed by the Olivia bonnet, gave the idea which has been now wisely applied to toques.

Fur capes have assumed many new forms. Some are shaped to the shoulders and do not disguise the figure quite so thoroughly as they were wont to do; some are mere plastrons covering the chest well and forming a point at the waist; others, like that in our illustration, take the form of a habit-shirt, with epaulettes of gimp, to which cords are attached which cross the chest and fasten on the opposite side. They are particularly smart-looking, and in truth are almost, if not quite, as warm as any mantle.

Sable is always well worn by those who can afford it. It fluctuates much in price, but is not so costly this year as it is sometimes. Beaver is used for trimmings, being of a colour that goes well with the tone of cloth now in vogue, most of the winter cloths having what is called beaver linings, viz., a soft interwoven lining. Fox and skunk are always to the fore, and some of the best fox-skins are very good indeed. Chinchilla has been brought back to favour for children's wear, entire hats being made of it, with brims that turn up from the face. Care has to be taken in choosing fine, close skins, and then they are the very things for children. Bonnets are made of it, lined with soft pink, and with caps of a number of loops of pink ribbon; the grey of the fur forms a most happy contrast with the pink. It also trims the soft woollen stuff's well of which their little cloaks are made; and sheep-skins, with the fleece uncurled, but combed, are used also, for the double-breasted paletots, and give great satisfaction, for they feel soft, and, moreover, look new whenever they are combed and washed.

If it is true that most of the woes of women can be considerably assuaged by the possession of a new bonnet, this should be a happy time, for there are not only many new bonnets, but a great variety in them. In our engraving (page 42) the leading shapes are shown. "The Queen" is the name given to the one with the flaring crown, because it is not very unlike what our Gracious Sovereign wore at the period when she ascended the throne. It is equally as well suited to a child as to a grown-up person, and it is really becoming to young women and old. It is drawn at the edge, the crown is stiff, and there is a group of feathers at the side; the strings come quite from the back, and above the face the inside lining is visible.

Watered velvet is much worn in millinery, and it appears frequently in the new bonnets. It is of grey watered velvet that the bonnet is made which is arranged in three pleats over the face, forming a pouf, supported by wings, which give it great height. This is a style which is generally worn, and it is not difficult to carry out, for the wings are a trimming in themselves, and the material between falls in natural pleats and folds. Nearly every bonnet has strings; some of them, but not many, have two sets, both made of inch-wide ribbon. But striped Chameleon ribbon is the greatest novelty; it has the effect of shot silk, but the amalgamated colour is produced by dyeing one tone on another. Reds and blues, browns and gold, greys and reds, and many other tones are thus blended, and on this chameleon ground, moire stripes of a darker tint are often introduced. Shot velvet ribbon, with a reversible satin side, is also used for strings.

Birds' wings and plumage generally show the same idea of the chameleon shading, and a great many birds are worn, and many parts of the bird. The bonnet made of mousse velvet is bordered with small wings of a green bird, set quite closely together, with a very full front. Fancy plumes are made up of heads, wings, and bodies. Vulture-plumes, curled and twisted curiously, are introduced into many aigrettes. They are dyed every colour, and are one of the most marked novelties in bonnets and hats. Birds of paradise dispute the palm with cocks’ feathers, which are put on bonnets as they are on helmets, giving a most military appearance to the womanly head-gear. It requires all the rich bead and chenille embroidery now used to counteract the effect. Throughout the year straw is the one material that never goes out, and a vast number of straw bonnets are made with rows of velvet alternating with the straw, or with velvet crowns and straw brims, or made entirely of straw. There is a disposition to mix the colourings, as in our illustration, which is a combination of red and blue narrow plait, and it is this which forms the brim arranged in close-set loops, a new treatment of straw. The strings cross on the crown, and very little trimming is needed.

Hats are high, with narrow brims, and low, with wide ones, and one of the new shapes is copied faithfully from the broad-brimmed felt of M. le Curé cord tassel, and all but turned up three times in a manner not affected by the clerics. The peaked caps, after the order of both cricketing-caps and midshipmen's, are so very becoming that they are made in tones to match the costume, with Surah crowns and velvet peaks, sometimes with a device embroidered in front. With this there is just the fear that they may become vulgar, but, with care, they are piquant and charming. There are shapes to suit all occasions and all faces. The "Sailor" is reproduced, with a higher crown, in velvet, and the “Marshal's Hat" has been reduced in size and brought out to suit the requirements of women who have succeeded in rendering it bewitching. What could any gallant man require more? And no Marshal of so polite a nation as France could naturally wish to see his hat converted to a more charming purpose.

PARIS.

Parisians are gradually returning to their gay and brilliant capital. Women of fashion and of independent means linger as long as possible in some health-resort of the sunny South, or they settle down for a few months in their beautiful châteaux to enjoy the freedom and pleasures of a refined country home, and to take a share in the outdoor sports of the sterner sex. To shoot in the fields, and to hunt in the forest, sportswomen are anxious to don unique though dashing costumes, copied as much as possible from those worn by their male friends, but transformed, so to speak, by the fairy touch of feminine taste and grace. The horsewoman being the most intrepid, we will for this reason first attend to her attire. There is, however, really nothing new to report; the riding-dress belonging to the classic type allows of but a few changes. It has to be always of perfect fit, quite plain, and usually in black or dark blue cloth, although sometimes a green or an otter cloth may be preferred. The clinging skirt just touching the ground is wisely provided with a curved seam, forming a slight fulness, in which the knee is moulded; this slight curve is hidden when walking into a fold, obtained by looping up the extra fulness with a button. The glove-fitting habit-bodice is fastened with small grelots in either silk crochet-work or plain gimp; the throat is encircled by a straight linen collar secured with a man's pin, and the close-fitting sleeves button over linen cuffs. Below the breeches or tights, in grey, red, or beige elastic silk, the cloth gaiters reach, matching, like the silk stockings, the colour of the habit. The high silk hat, de rigueur in town, is replaced in the country by a small hat in black, grey, or maroon felt, similar to those worn during the summer by our youthful élégantes who affect tailor-made costumes. Such is the correct style of the riding-habit as understood by French equestrians, but it is highly important to specify that this ordinary dress, if tolerated, is not considered in the best taste. The true elegance is to have the riding-habit harmonising with the equipage or retinue of the hosts. Short skirt, habit bound with velvet, coquettish three-cornered hat in felt, lined with velvet and trimmed either with feather or with a plain galloon, the whole chosen with a due regard to the specified colours, is considered a garb of supreme bon ton, and a compliment paid to the hosts. It has, however, the great drawback of being an expensive fashion for women who during the season visit several friends, and to obviate this difficulty it has been decided to wear red habits. When inviting her guests the châtelaine frequently forwards them the bouton de l’équipage, which is really a rosette in the colours of the retinue. To receive this bouton from a princely house is a compliment. If the Amazon dress does not give much scope for the whims of fashion, such is not the case with the costumes adapted for carriage wear in which to drive to the meet. They must be rather dashing, yet treated with a certain masculine simplicity. The Directoire redingote, the Louis XIII and Louis XV vests, and the large Gainsborough felt hat decked with nodding plumes, are the salient features of the picturesque attire, made in special materials, notably in velvet encrusted with leather, in Rob Roy green cloth, perforated with open-work embroidery, and mounted on a bright foundation of scarlet flannel, and in several kinds of homely cheviots smartened up with velvet. A short skirt partly concealed with a drapery deftly caught up in formal folds, a velvet waistcoat, or a kid plastron, combine the most suitable accoutrements invented for such occasions. A costume in green silk velvet with scrolls in bronze kid is also admissible, as well as a neater one in beaver-coloured cloth, with a front in fur or Swedish kid, and a small partridge-wing or woodcock's head added to the waterproof felt hat.

The new jackets too, with their military braiding and froggings, completed with gimp epaulettes and stylish hoods, are in excellent taste on such occasions when worn over a redingote of shaggy cloth.

A glance at our illustrations reveals the style of promenade costume and hats we are now wearing in Paris — for, truth to say, French women much affect stylish hats during this demi-saison. The outdoor dress, designed by Mme. Cavally, Boulevard des Italiens, consists of Vandyke cloth, pinked out at the edge, and draped with a moyen-âge pleat over a black velvet skirt; the visite is formed of the two materials. The Bragance bonnet has a crown, strings, and bows of pale green watered ribbon; the sides are black velvet with picotees embroidered in gold, and the aigrette is a graceful amalgamation of feathers and wings.

The hats in the second engraving are designed by Mme. Virot, Rue de la Paix. The Du Barry is in moss-green plush, with a bow and strings of white and maize watered ribbons. The aigrette is white. In the D'Estrées hat, which is of grey felt, the brim is turned up at the back, the large bow is of grey satin ribbon, and grey feathers intermingle with its loops.

The month of November is likely to be very gay in Paris this year. Many wealthy and aristocratic families have had to return to town unusually early to attend a few grand marriages, such as the one of the Duchesse de Castries with the Vicomte Emmanuel d'Harcourt, and that of Mlle. de Behague with the Comte de Janay. Numerous brilliant parties and festivities have necessarily been given to celebrate those fashionable weddings, and plenty of gaieties are in store for some, and plenty of work for others, which will impart a great impetus to all branches of trade. Meanwhile, the principal firms devoted to women's requirements have for some time been busily preparing wonderful creations, both for these ceremonies and for the autumn season. Mlle. Corbay-Wenzel has already on view a splendid assortment of new costumes and mantles to suit even the most fastidious tastes. Amongst the choice it is somewhat puzzling to select a few models illustrating the leading types of winter fashions. There is quite a furore for antique watered silk, and the bright material, with its rippling waves, is seen on almost every dress and mantle, either as a sash, a bow, a drapery, or a panel. Here, for instance, is an extremely lady-like costume in brick-red cloth, with a plain skirt in moire silk; a panel of the same material also brightens up on the right side the drooping drapery of the tunic, whilst on the left it is raised high over the hip to display the skirt. The Directoire bodice is fastened across a puffed front in pink gauze, by a wide tab secured on each side with glittering clasps of beaded gimp. Pekin, or striped silk, has been employed for two demi-toilette gowns; in one, very wide satin stripes cross the moss-green Sicilienne ground, and are used not only for the skirt and the bodice, but for the paniers, which are gracefully looped up over the hips. This drapery, carried to the back, falls in straight folds. The tablier and shrt are of self-toned China crape, sparingly but tastefully embroidered to correspond with the bands which frame the puffed front, and are continued at the back as braces. The other model of striped black moire and faille is much in the same style, but more suitable for a matron, as it is trimmed with black Chantilly lace instead of with embroidered crape; and with this lace the blouse and graceful coquilles pleatings are formed.

Satin merveilleux is not altogether set aside, as proved by a charming gown made entirely of satin in the quiet tint known as "Cordovan leather;" the tablier is arranged in soft waves, and the back in rigid though artistic pleats, on each side of which sparkle pentes wrought in iridescent jet and chenille; the plastron displayed on the coat-bodice matches these pentes or panels.

Mlle. Corbay-Wenzel has also a great variety of pelisses prepared for the cold weather. Hie shapes do not apparently exhibit anything strikingly new, but the materials and trimmings are extremely elegant — indeed, gorgeous. The skilful weaving, artistic designs, and kaleidoscopic colouring are almost beyond description. The wraps — out of the common run — are made generally of two rich stuffs. A graceful coat, in superb Genoa plush, close-fitting at the back, has its straight and semi-loose fronts in green velvet, as well as the pendent sleeves, which reach to the edge of the garment, and are all aglow with gimp silk and emerald beads. The lining, in light green satin, contrasts softly with the deep emerald-green of the glossy pile; from the opening at the back a few pleats or kiltings of the dress-skirt escape, also in the plain green velvet. Another cloak cut as a mante, loose in front and close-fitting to the figure at the back, is in black luminous moire silk, over which have been lightly thrown delicate traceries of plain satin; the skirt, kilted fan shape, is in velvet, and fastened at the waist by a huge gimp motif in silk and jet, shining between two bands of marten-tail fur; the quilting is in a warm shade of garnet satin. A redingote, in coarse-tinted vicuna, describing in front pilgrim sleeves, is closely gathered at the bend of the back, where an insertion is placed of otter-brown velvet between two gold galloons. The small visite shape is still in favour. Here is one in green Bengaline, cut short at the back where the cape finishes at the waist. It is ornamented in front with a plastron and long stole ends of blue fox, over which are attached beaded fasteners, alternating with fluffy bows of moss-green satin. A simpler model is made with tabac d'Espagne cloth, adorned with open-work, silk rosettes, and black jet A. motif in passementerie, with drops, secures the garment at the waist The pagoda sleeves, and likewise the collar, are bordered with black musquash fur, whilst the Louis XIII waistcoat is in black velvet.

As regards novelties in head-gear, a visit to Mme. Virot, the “queen of milliners,” will at once initiate us into the secrets of the most recherché styles. In the renowned show-rooms of the Rue de la Paix, the toque is the leading model. The beret (a kind of Tam O'Shanter), in grey cloth, appears as a souvenir from the seaside, where the picturesque cap was in great vogue. However, when worn in town it is rendered more ornamental — for example, with a marabout trimming cunningly arranged as a scarf, and intermingled with large, upright loops of ribbon in silver-grey satin, spangled with steel balls. The same shape in willow- green moire is stylishly veiled with gold lace, and encircled with a band of black feathers. The stiff loops, in black velvet, are caught up with tiny buckles in paste diamonds. The Zamoijska toque, in moss-green velvet, is bordered with a frilling of mordoré plush, a blending of colours at present most fashionable. At the side and in front bows of green moire stand erect, and a cluster of quills or couteaux feathers in tinted green bronze. The toque chasseur, in old-gold velvet, has its pleated crown crossed with a scarf in fawn-coloured watered silk, whilst its peculiar high and pointed front is flanked with two quails, placed with their wings upwards to simulate aigrettes. Another type of hat is in chestnut-brown velvet; maroon corded silk is used for the soft crown, and at the side is arranged a lovely aigrette, composed of a nest of loops, in moire ribbon, shot willow-green and pink, against which a woodcock is very cosily resting. To complete this enumeration of varieties of toques the cocotte model must be mentioned, in flame-red velvet, and with a crown of tan-coloured moire, folded deftly so as to form two ears, framing on each side a large cock, with its glittering metallic plumage slightly flattened down over the top of the hat, and proudly raising its head in front with its cockscomb in flaring red velvet. Imagine a sprightly brunette wearing such a cap! Not less quaint, if less showy, is the Russian toque in phosphorescent green velvet, surrounded with a wreath of ears in fur in the centre of which a delicate sable's head peeps out.