The age-herald., 1898-01-06
Fetching House Gowns For
 Old and yOunu Women

A fashion chronicle thus writes of pretty house gowns and matinees:
 A striking gown is made of dull blue satin brocade. The collar is edged with narrow feather trimming of the same shade The side fits smoothly into the waist and round over the hips. The back is Wat teau from under the wide collar The loose front is open disclosing blouse under- front of cream white crepe de chine, dotted with large solid yellow satin spots. The yoke of the skirt front is covered also with the dotted crepe, and from the yoke, which is wide and cut, in points, falls an ex- tremely full founcing of plain cream white crepe de chine. From the back of the crush collar that is like the crush belt, or cream satin, froths a half ruche of hand some lace. The sleeves, on white satin foundation are of puffed and shirred crepe de chine finished at the elbow with a grad ed flounce of lace, short in front and long at the back. These gowns are necessarily made upon tight fitting Things.
 A tea gown is of rose-colored silk and wool challie, figured in artistic floral de- signs. The front Is open and the outer part, which is cut in one piece, is finished at the low neck with a garnet-colored velvet faced collar. At each side of the open front near the collar is a large rosette of soft satin, matching the prevailing shade of rose in the challie From these rosettes full plait- ings of white chiffon fall clear to the hem of the skirt The under front Is of rose satin, bloused corsage and yoked skirt The blouse and skirt are strapped with a lattice of garnet velvet ribbon, the center of each square is embroidered in silk The sleeves are made of shirred satin, finished with a bell-shaped cuff.
 'The Magpie' Is the name of a tea gown in black and white. It Is close fitting at the hips and back. The front is open narrowly over fall from the throat of loose white silk. A wide black velvet collar is trimmed with white soutache, and curves up around the neck. A big white bow fastens under the chin. The sleeves are small, but long and loose fitting, and trimmed with cuff ruffies of white lace The material used Is black cashmere, and the lining throughout white taffeta. The short train adds an in- describable smartness to the gown; it is smooth and narrow almost to the ground where it suddenly flares in flat fan-tail
 Empire house gowns still hold their own among coming and going fashions. Henri etta cloth is most adaptable to the soft draping of the extremely long skirts. As these gowns have no lining to hold them in at the waist, they are probably more com fortable than the others; at the same time they are slightly and becoming. Of course trains are fashionable, and trains are al- most out of the question in conjunction with empire robes, but with their restfu neat ness they make one forget the lack of the fashionable appendage. They are really the only gown that can be gracefully worn without stays.
 Very fetching is dainty matinee of light violet corded silk. The yoke covered with heavy lace fastens in curved line, begin ming at the top of the high collar and run ming down across to the left side where it Is caught with an old bow of wide deep violet velvet ribbon; two loops of the bow stand up, while four of uneven length turn down, and two streaming ends extend a few inches beyond the length of the jacket. Tho yoke is edged with a pale violet chif- ion ruching. as Is the chiffon accordion plating over the shoulders The flaripg collar is faced with velvet, and an ac- cordion plating falls from the elbows of the sleeves. The sides are gored and the full- ness of the bodice is fattened into two box