The Jersey City news. (Jersey City [N.J.]) 1889-1906, 1898-03-03
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to style could afford to be without. Its
glitter. its rustic and its lightness were
SO obviously in its favor that it was inn
possible to resist it's seductions. And
now the 1895 woman will rustic and gilt
ter also.
Black taffeta skirts are made up by
dressmakers and the large stores and
are all beruffled. Some are lined with
colOred gross grain. others with perca-
line, but the daintiest of all the unlined,
depending on ithe quality of the silk for
the firmness needed. A six-inch hem stiff
fened with gauze sufficas to hold out
the hem The trimming consists of
ruffles in clusters, ruff1es outlining a
round apron and reaching nearly TO the
belt in the back, OF ruffles following the
front seams from the belt, turning to-
ward the back at the lower edge and
continuing around the skirt. Every
ruffle is finished with a narrow hem and
many ave narrow Chantilly lace, or
No. 2 black velvet ribbon, or a, gimp of
a single row of jet ~spangles, or a tiny
passementerie of silk soutaehe. Many
of these tlounces are much wider at the
back than in front and all ON the bias of
the silk.
Waists for some gowns are on the
blouse order. slightly pointed or with a
fiat basque. Cross tucks and ruffles or
~lengthwise tucks, rows of lace inser-
ton, white silk and lace yokes, lace ruff
fed batiste vest fronts. and jetted nous
seine yokes. are trimming for these
waists. Rows of narrow black velvet
are also used alternating with cross
tucks. These bodices display the fancy
for white yokes and fronts which is one
of the most conspicuous features of the
new seasons styles.
A pretty model worn by a young So
ciety girl had an unlined skirt ruffled to
the waist. each ruffle edged with narrow
black velvet ribbon. This was repeated
at the waist, and a bow of the same rib
bon set on the left side matched the
waistband. The white satin yoke was
yelled with lace. These skirts. We regret
to say. are all longer in the back than in
front and set out we'll. This sweep out
ward is obtained by a silk petticoat
heavily hounced up the back breadths.
In some cases these breadths are up
ported By reeds run in castings. thus
forming a true tournure such as was
worn twenty years ago.
The fancy for yokes of white mousse
line grows apsee. One spring gown is
of light weight, blue gray cloth. The
yoke is outlined by black velvet ribbon.
The lace artistically applied is one of
the new makes of Valenciennes.
Black cloth icostumes are considered
very distinguished. If you care for an
especially becoming one, make it in this
way:@Trim the skirt with quartz inch
tucks nearly TO the hips. The spaces
between these tucks may be from two
to three inches. The blouse must fit
-snugiy-drawn down into the steel
~spangled belt. The. top is, low cut over
a yoke of white poplin or satin, covered
with a yoke of jet and steel ~spangles-
The beads are ON the collar band and
the belt fastens with a steel buckle.
Three of these bands are down the front,
edged with a tiny putting of black NOUS
slime. The small sleeves have epaulettes.
A brilliant velvet collar may be worn in
place of the white one if more color is
desired.
Here IS an exquisite costume In the
soft gray we have learned to love. 1t is
in the new material woven to represent
tucks. and although a cloth so fine and
light that it is pleasant to think of, and
viii be to wear The tueks run length
wise OF the Skill, Which Id NJ VtACi
trimming. The nipple blouse waist is
drawn into a pale green bias silk waist
band. The top is cut out back and front
over a yoke of green silk in tiny gath
cred tucks. The sleeves are cut in the
new style with but one seam and that
on the inside of the arms. The shap-
ing over the elbow is accomplished by
three or four gathers, or. rather, pleats
- = - .-H%I L.x,l ~ h prr Tho
puff is very small. and the tueks run
round the arm Those IN h blouse
waist run 1engthwise to match those on
the skirt.
One of the busiest of the many busy
women with whom l am acquainted is
also the most charming woman with
whom to converse. She is not a brill
liant, perhaps hardly a clever, talker,
but one loves. to talk with her. After
mature and thoughtful consideration. |
ave come to- the conclusion that her
charm lies in the fact that she is an
admirable listener says "Harper's
Bazaar BY her evident interest
in and sympathetic attention to the
matter of the conversation she brings
out all that is best in the one with whom
she talks. Diffident people forget their
shyness in her presence, and leave her
with the comfortable and novel convic-
ton tha they have. after an, acquitted
themselves rather well. Few persons cul-
tivate the art of being good listeners;
and yet to listen well is perhaps even
more desirable than for one to talk well.
The good talke is often over eager to say
his say. to utter his witticism, to tell his
anecdote. and his conversation is often
a monologue. The good listener inspires
the talker by strict attention to all he
says, and, above all, by booking at him
while he speaks.
There is nothing more trying than to
find that your putative listener is Civ
ing only partial heed TO your utterances.
1t is strange that a refl-bred person
should be guilty of the Grass rudeness of
picking UP a book or magazine and look
ing through it while pretending to pay
heed to the talk of a friend. The assur-
ance, II am only looking at the pictures
in this magazine, not reading, and l hear
every word you say. :" is no palliation of
the offence. The speaker would be justi-
fed in declining to continue the CONVEX
sation until the pictures have been prop
erly studied. If a speech is worth hear
ing, it is worthy of respectful attention
The best way to boil an egg is to