The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1891-05-03

her ankles. Lillian Russell. who wears
the longest sleeves of any woman on the
stage. pulls down her cuffs and sleeve
ruchings until only the tops of her care
fully manicured fingers are visible. This
style is . boon to women who have slen-
der, shapeless wrists and arms. for these
are entirely hidden and only the delicate
hands are visible. As relief to the tight
ness of the sleeve, the cuffs are cut In long
points One point comes down over the
hand 10 the knuckles. Another extends
mp the palm Of the hand and point on
each side flank the thumb and little finger.
Underneath these points there is lining
Of either white or black lace. The points
are caught together half way down their
lengths with bows of baby ribbon.
The puts at the tops of the sleeves con-
tinue TO be worn. Since some genius
invented the spring to hold them upright,
it has been possible 20 secure the high
shoulder puts in thin materials. The
springs keep the puffs from falling or be-
ing depressed by the dsmpness of the
weather. By this arrangement crepe de
chine. mousseiine de sole. and even the
slimsy chalIies. India silks and tulie retain
their shape nicely.
Very cunning baby dresses are made
with puts at the tops of the sleeves. The
material selected Is very fine. and the
S1CCsG RuAlS 8lC Tic Only tElxn 0kHSS, II We
except very narrow edging at collar and
cuffs Again the prevailing modes are
seen in baby dresses, for the collars of
these are made as nearly Medici as the
shOrtneSs of baby's neck will permit
They are high in the back and slope to-
ward the front, and are edged with tiny
lace.
Beautiful baby cloaks and dresses for
children Of or years are found ready
in the stores. China silk is q favorite ma
terial, and the makeup is similar to that
seen upon the garments of those older
grown. The little long coats cunningly
fastened with four buttons in front are
found, and the lace vests are rather long
plain skirts. Again. the baby dresses are
made with short waists and full, pulled
sleeves, the skirt being gathered on TO
make a pilgrims skirt.
A certain Paris ball gown Just arrived
has skirt front draped In white bengaline
and white net II is dotted with white
beads and studded with white butterflies.
A flight of butterflies cross the skirt dag
onaily, and also the bodice Fuii-blown
flowers in shaded velvet cover the hem on
the front Of the skirt.
The modish young woman is open to
the criticism of permitting her costume to
be all waist. Not that her wais. is large
around, but 1t is long-ycry long. From 3
rear view she appears to be all back. Her
gown fits her tightly across the shoulders.
1t slopes down TO the waist in long. slen-
der point. whence it is carried on down
over the hips 10 the bottom of the coat in
a narrow way wholly unrivaled in pre-
vious histories of dress. Everything pos
sihle is done TO make this slenderness more
apparent. The corsets are snugly drawn
outside of the undercloshes. and
over the petficoats, and the waist
is put on directly over the corset.
This takes away the effect of prominent
hips No bands, gathers or bunchings are
allowed around the waist Many of the
women wear no petticoats q; all, letting
rufiies tackled inside of the dress skirt do
the work of petsicoats. Others less ad-
vanced wear a divided skirt. perfectly
gloye-ftting over the hips And those
women who are not sufficiently enanci-
pated from wonlanly prejudice TO cast
aside the womanly petticoats construct
them upon 8 different scale The fullness
is all sewn upon q yoke which extends
down over the hips and fits snugly above
them. The corset is put on over this.
BY these means and the arsifices of the
modesto, the long slender effect, hitherto
seen only in fashion plates, become posi-
bic for the everyday, nineteenth century,
flesh and blood woman.