The Worcester spy. [volume] (Worcester, Mass.) 1898-1904, 1898-10-16
The Latest in
New York.
A SKILLED WRITER


New York, Oct. 15,-It must be con-
fessed that we were uncertain and con-
fused over the winter fashions when
they were first opened and displayed
but now that we are come to q better
understanding, there is a budding fond
ness stealing over our caprlcious fancy,
quite the opposite to the familiarity so
disastrous according to the old saw
when INDUCED towards human kind.
1t was the smart French skirt, fit
ting like a glove" which made US fight
shy. In fact, skirts CT that sort re-
main still something Of d bugbear to
the majority, for 1t must be owned
handsome as American woman have
the reputation cf being, they are not
all sylphs, or shaped like goddesses.
Paquin's skirt model IS usually in the
lead, and as broadcIcth and the finest
and softest Of face cloth sre the win
ter's craze, in pale tints for he house,
III in medium shades for street wear
y find PaGuin's THREE piece skirt, a
front gore and two wide circular cores
meeting in the back III bias seam, is
for general use a faVorite. This seam
may be fastened where the placket
opens by double row OF small buttons
with cross cords, or there may be sim
gle row buttoned through. Now and
then, invisible hooks do the fastening,
but buttons are the new touch.
Then comes skirt in five pieces, the
back gore seamless, the front gore dou-
BILE and scanned on the bias through
the centre, and two side cores. This
is the perfect glove fitting model, this
opening on the side, or IN front. If on
the side, both hips often receive the
same trimming effect Of buttons or
bands stitched, while the fl ont opening
requires special bodice trimming to
hide by stole or tab its opening.
Smartness in skirts requires that the
upper portions fit the figure like a
sheath and then gradually ripple out
into q four or five-yard fullness at the
bottom, according to the material and
purpose of the gown. To aid in this
effect all the smart cloth gowns have
their skirts trimmed with fitted pieces,
or fitted bands, simply stitched on the
bottom for finish, and stitched on the
skirt afterwards.
So must it follow that slenderness is
the acme Of style, and so rigldly is II
enforced that fashionable filter in
sists on the wearing of silk tights, and
q single soft liberty silk or satin knee
petticoat besides. These petticoats are
tight fitting also, but on the bottom a
row Of buttons are placed SO as to but
ton separate petticoat fiounces, made
with the customary combination of lace
plaitings Of taffeta, crimpings, etc. This
radical change in our Undertakings re-
quire that we consult regular skirt
makers for our supply, or give the or
der when we are ordering our gowns,
and receive our petticoats with our
dresses. The bottoms of all skirts are
as pliable and soft as they can be made
by mere hem or soft facing.
Skirts are all long, even those for
street wear touch the ground and hang
over the shoe tops. For carriage visit
ing, we are to have skirts with a dip
in the back, and semi-traines.
All indoor gowns Of a. dressy nature
are to be seni-traines, while for cere-
monies, dinner or ball gowns, longer
trains are en- reggie, and very long ones
at that, some Of them rounding off,
others with something of the court
squareness, as they lie on the ground.
Those who object to the extremes Of
fashion may fall back on the graceful
polonaise skirt model, where the over
skirt tips down frontwards, but slopes
up to the belt, or to that leaning tow
ards the Peplum model, requiring a
shorter apron front, and the dip of the
drapery falling at the sides. These
both give an opportunity for g. little
more expansion of line. For instance,
you are to imagine charming visiting
gown, built with a skirt OF castor la
dies cloth, peculiarly lovely wood
brown, very rnodish at the moment. The
skirt opens at the left side of front
gore, just where the hand falls when
the arm hangs at the side. This open
ing forms a double curve front and
back, showing in the wide space a full
drapery Of velvet a shade darker. The
cloth edge Of skirt is simply hsmmed
and stitched all round. There is an in
side taffeta skirt Of the same shade,
hemmed also, with narrow Dinl1ed out
founce inside. A coat bodice, of the
same velvet has medium coat tails in
the back, which end on the hips. The
fronts are open and hang down in
points, very sharp ones, indeed. Turn
ing over the fronts are paired of rev.
ers of white satin, trimmed with a nov
city, in this case a fine white satin
cord, but so soft and pliable as to dis
guise the old cording rlgidity per
fectly.
These cord lines run close together,
keeping the form of each rever, pro-
ducing charming effect. 1t should be
mentioned that the lower reyers are long
triangles, while this upper ones are
short squares. Then comes high coll
lar Of velvet In the back, lined also with
white satin and trimmed with the same
cord.
An inside bodice OF hydrangea blue
liberty satin, crossing to the left, shows
prettily with its v shaped opening. back
and from field in by high white che
misette. and under the chin the French
bow so much in vogue or butter yellow
lace Long, close fitting sleeves, hay
ing an upturned white satin cavalier
cuff. trimmed to match revers.
On the head is worn hydrangea blue
velvet hat, with upturned brim. One
match ostrich feather, laid lengthwise,
and a big chon Of capucine or nastur-
tium orange satin antique, with arch
ed diamond buckles in the center, head
ing this feather on the Drirn. Hydran-
gea. blues. banana yellows, capucine,
evrano red, 1acqueminot red, grays and
brown tinges, with black and white,
are the most chic colors used in smart
millinery.
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