Gowns, whether of silk or of plain material, continued to be made open down the front, over an under-skirt of another colour; but for a simple style of dress, both skirts might be alike. Gimp trimmings had been succeeded by ruches of muslin or lace, sewn to the edge of the dress, and arranged like flounces. Sleeves were always tight and short; fans and bracelets, pearl necklaces, and sometimes a watch, fastened at the side, were worn also, and immense earrings “à la créole,” that had been first seen in _Mirza_, a ballet by Gardel. Gowns were worn rather long, scarcely revealing the satin shoes with buckles, and the smooth-drawn white stockings. We may here recall the “calembourg” made by the Marquis de Brévre to Marie Antoinette: “Madame,” said he, “‘l’univert’ (the universe) is at your feet.” By way of compensation for the length of the skirts, bodices were cut so low that the shoulders were visible. Paniers were out of date, but “postiches” had taken their place. These postiches soon became so enormous, that even young and slender women looked like towers of silk, lace, ribbon, and flowers. Fashionable marquises wore satin pelisses, white, pink, or sky blue, trimmed with ermine or miniver, and a muff in winter. Occasionally, in a fit of simplicity, they contented themselves with a silk hat, and an elegant caraco, or a satin mantle trimmed with broad lace. Sometimes, also, they expressed their literary or political proclivities by their dress. The “Philadelphia” cap was intended to commemorate the independence of the United States, about the time of Franklin’s visit to Paris. The immense success of _Le Mariage de Figaro_ effected a change in the fashions, and the costume in which Mdlle. Emilie Contat had been applauded to the echo in the part of Suzanne became the order of the day. All that year, the ladies adopted “le déshabillé à la Suzanne,” dressed their hair “à la Cherubino,” wore their gowns “à la Comtesse,” and their bonnets and caps “à la Figaro.” After the performance of _La Brouette du Vinaigrier_, by Mercier, caps “à la brouette” (wheelbarrow) came into fashion. _La Caravane_, by Grétry, brought out caps “à la caravane.” _La Veuve du Malabar_, a five-act tragedy by Lemierre, was so popular, that extraordinary caps were devised, “à la veuve de Malabar.” Louis XVI. thought proper, on a certain occasion, to forbid the court in general to enter the royal carriages in order to follow the hunt. To ensure greater freedom, he desired the company of real sportsmen only. The nobles immediately protested, and the Princesse de Monaco expressed her disapproval of the new regulation through the medium of her “pouf” hat, on which was displayed the king’s coach in miniature, padlocked, and two gentlemen in gaiters following the hunt on foot.