Where the couture house of Worth was known for dramatic effects and strong textiles, and Pingat's focus was on structurally unusual outerwear, Jacques Doucet's establishment was about unabashed femininity and loads of surface details.
Beginning with the skirt, the under layer is of silk organza, and is ended at the hem with a broad densely pleated ruffle of silk organza that is itself ended at the hem with a pair of short self ruffles. Over this, the surface skirt is of alternating panels of gold silk velvet, and single layers of chiffon that have been embroidered with a flower and vine motif that twines around the lower half of the skirt in a seemingly random way. Then the upper half of the chiffon panels are scattered with sequins.
Okay, lets move on then.
The bodice continues the panel idea, though the chiffon sections are much narrower. The appearance is almost like a vest, with a shell pink laterally pleated cummerbund under the velvet. Under one of the velvet sections on the left side is a huge double frill of the pink satin, like a big bow, that is further decorated in the centerpoint with beadwork. The entire shoulder section, and the collar, are made of heavy guipure lace that drapes over the shoulders, and down the back like a capelet. And finally, the sleeves, mostly of pleated chiffon, end with deep gathered cuffs of chiffon, edged with more lace.
A dress like this one would have been worn to formal dinners in one's home, but this would not have been appropriate for theater. It also seems to be a dress designed with an older woman in mind. The high collar was not usually in use for evening, regardless of the situation, so this was a woman who was either modest about exposure in general, or was conscious of concealing any less than perfect flesh from view.