The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1897-07-11

| riding and golf, though there are girls
| who would be able to wear it at those
rather rough sports, too. And nothing
| could be neater or daintier for morn
| ing stroll in the country.
IT must have taxed human ingenuity
| to the utmost to have evolved so many
land such varied ideas in bodices There
seems to be nothing conceivable that
has not been invented. and one looks
from one to the other lost in astonish-
ment mingled with admiration 1
could not describe them all IF | tried
Every one differs from the others and
every one is pretty, some beautiful.
we can consequently apply that term
to the lace and muslin and other thin
waists, for they deserve it.
There was one gown that was really
too beautiful 1t was heartbreaking.
The material was soft, creamy, trans
parent wool, with rush green waved
lines as the design. These lines were
about three inches deep, making the
pattern striking. The skirt was I'M
trimmed, but the bodice? All, that was
another matter! The bodice was OF
pale lilac taffeta with a point in front
and back, with a draped belt of the
same, with crisp bow at the left side
The stock was made of the silk, too,
with bow and sharp ends in the back
Over the taffeta waist was a bolero of
the dress material, with long points
in front There We're revers of the
same, with full frills of black lace
about four inches wide. Around the
bottom of the bolero there was a mar
row black lace frill. Directly in the
front of the corsage was a jabot made
of accordion plated cream silk null,
bordered on each side by a black silk
null plating of the same With in jato.
form. The sleeves were in the Vic
torian shape, with a cream and a black
null plating at the wrist.
BlouseS continue in high favor on
such gowns as would not admit of a
shirt waist Some of these are covered
with lace or with dotted Swiss, and the
sleeves are usually made of the skirt
material. The most approved plan is
like one shown in an up town store.
The skirt, of a very pretty silk strip
ed Bingham, was made plain, save
for a bias band of the same stitched
fat on the bottom. The sleeves were
made ION the straight" with small bias
puffs at the top. There was a black
ribbon belt with bow at the right
side and pointed in front and a black
velvet stock with a full frill of white
lace in the back. The bodice was en-
tirely covered by a blouse of richly
embroidered white lace, closing simply
in front. Small frills of the same lace
formed caps on the, shoulders. 1t
makes a pretty and girlish addition to
a simple costume, and 1 believe the
belt and lace blouse are separate from
the waist and could be slipped on over
any plain dress. The same form Is
followed in making the Swiss blouses,
| only that there is generally a double
| frll Of lace down the front.
Another design a little more elabo-
| rate has the skirt of Madras bingham,
| with two rows of narrow black velvet
| ribbon all around the bottom and
! crush belt of black velvet. The waist
was blouse shaped and covered with
lace all around, but at the top it was
| shirred and puffed to fit the neck
| Narrow black velvet ribbon was rul.
| through it in three rows. The collar
was high and made of the gingham
| with lace over it and three rows OF
| velvet. The sleeves were pulled close
| ly at the top and had pointed wrists
| with lace frills. There was a piece of
| the Bingham cut into four deep slashes
in the back and the same number in
front, bordered with velvet. This was
cut out at the neck in pinafore style
The tabs were fastened in the back
over the lace, but in front they hung
down loosely. This was what the
| modistes call stylish" gown.
Early in the year l mentioned the
handsome linen crashes and predicted
that they would be favorite materials
for all sorts of, outing gowns. They are