At the Trouville Races, in 1871, there was nothing new in the costumes worn, in the true signification of the word, but they were neither like those of the preceding year, nor, as regards brilliancy, like those of the latter years of the Second Empire, and on that account alone they deserve mention. Gowns, without crinolines or trains, no longer swept the beach as formerly, nor did they display the wealth of their wearers; the visitors to the seaside were simply and modestly attired, and resorted thither for bathing merely. “Parisian velvet” was the new winter material. This was a sort of black satin, with velvet lozenges or diamonds. Another kind of velvet-satin, called Pekin, was very fashionable. Different varieties of these two materials made them suitable to every figure. The costume was completed by a black velvet bonnet with curled black feathers falling over the crown, and velvet strings. Satin was mixed with “Irish” cashmere for gowns, and trimmed with fringe, gimp, and lace. The above styles were, I repeat, dignified, and appropriate to the then position of France. There were some rare exceptions that contrasted with the general rule. At a private concert for the benefit of the sufferers by the war, the principal singer—an amateur—wore a gown of white double crape, with demi-train and puffings at the bottom; three large “pattes” of black velvet fell over the skirt, and on each of these was an anchor in Rhine crystal; the bodice was low, and trimmed with two ruchings of black velvet, divided by one of white crape. The head-dress was black velvet and pale Bengal roses. Under the melancholy circumstances, black was universally worn, but it was not like ordinary mourning, being richly trimmed; and by degrees, as months passed on, and the remembrance of recent disasters became fainter, lighter shades were permitted to modify the exclusively black garments. The so-called “cloth costume” was also much worn; this consisted of a tunic, jacket, and skirt. The tunic was polonaise shape, plain in front, and with two Watteau plaits behind; the skirt was of silk, either flounced or kilted, or else in orleans or cashmere, for morning wear. A wide-sleeved jacket, cut out all round in “battlements,” was worn over this costume. Alsatian bows for the hair, in remembrance of our beloved and lost Alsace, were much worn by young girls. Marie Antoinette fichus and Charlotte Corday caps were still in fashion, and becomingly adorned with Alsatian bows. During the Carnival of 1872—hardly a brilliant one, as may be imagined—the Alsatian costume was quite a success. The same may be said of the costume of Lorraine. But, to our mind, there was something childish in thus exhibiting our regret at having ceded two of our finest provinces to Germany; it was no affair of fashion. Visiting costumes were trimmed with ribbon rosettes at the side, in imitation of the Alsatian custom, and this style remained in fashion for more than a year.