Middlebury register. (Middlebury, Vt.) 1886-1937, 1895-03-29


are exaggerated, and there is variety
enough to satisfy every taste.
Take the spring gowns. One Is of fine
broadcloth in copper color. The skirt is
cut with an extremely wide flare and has
organ pipe plaits in the back. The waist
joins the skirt without any perceptiblc
belt. Down the sides in front are double
flat bands of apple green faille, edged
round with copper colored silk cord,
which forms fancy pattern at the bot
tom of the bands. The waist is quite
plain in the back, without any seam, but
it does not reach quite to the neck in the
back nor in front. The space is filled with
white and gray brocade There is
braided scallop and pattern made of
the cord on the waist where it joins the
yoke. There are enormous double bretelles
made of the green faille over others of
white silk. The green bretellcs have simI-
lated buttonholcs. The sleeves are a sort
of modified bishop, with deep cuffs in
which mingle faille and brocade, with the
cord as defining line. 1t would need a
very courageous lady to wear such gown
on the street, and yet it is very tasteful
and above all stylish.
Another very Frenchy gown was made
of pale biscuit diagonal cheviot in light
there were laid two or three small plaits,
and these were faced with white satin and
that showed slightly On the right side
the seam was left open all the way down
about = inches at the bottom, and this
tapercd to n point. The inset was of
white satin. There was IA series of bows
of old gold velvet graduated in size,
set along over the opening. At the hip
were eight drab silk covered buttons. The
waist was rounded slightly in front, hut
cut away to show n vest of old gold velvet,
above which were six buttons, and above
THIS again the waist was cut out in one
narrow line to show the velvet under
meath. This waist had no seams in the
back nor darts in front The collar was
high and turned over, showing a white
satin band at the neck aud a lace cravat
bow The sleeves were gigots slashed at
the top, where there was an inset of white
satin and three graduated velvet bows on
each. The forearm was arranged tn APP
pear to button on each side with drab silk
/ buttons just half the size of tho others.
! An English modesto could have evolved
all of this gown, but would have omitted
the bows, which the Fronchwoman has
/ dared Let the wCarcr decide for herself
about the bows.
Even IN mourning gowns lHe / rcnCn
/ droSsmakcr's taste for decoration shows
| itself, and whilc others would load the
/ garments with heavy Grape inset and hard
/ looking folds the French one takes tuck
/ in here or n loop there, and with IA bit Of
something will make thing of grace and
beauty out of what tho other would have
made rigid and depressing gown There
was homo mourning gown. The back
was On prlnces,c, with ample folds to the
skirt which Wa half long From the
neck in front, there hung folds Of the
goods. with "a band of dull jet embroidery
down each edge ending in "A fringe at the
bottom Tho front panel is of knife plat
ed Grape. There j. Il double rullle of en-
bruidcred yelling at the throat ana IA fancy
stock collar. The sleeves are deep pulfs,
with falls Of embroidered yelling, Topped
up with ii fancy jet button into graceful
broken lines. such gown would 90 far
to tighten the load Of sorrow laid upon the
young head
There is no reason why deep mourning
gown should bo an ugly, stiff thing to
show proper respect to the departed
There was another imported mourning
costume worthy of special note. The cor
sage was cut in blouse style, the front
plait being of Grape and hanging over the
belt On each shoulder, on the collar and