Iowa County democrat. [volume] (Mineral Point, Wis.) 1877-1938, 1899-03-30
PARIS GOWNS.

The tendency toward the peplum
and over-dress is quite as marked in
light gowns of delicate tissue as in
smooth cloths and silks. In some
gowns there is an attempt to intro
duce long apronlike fronts without
back drapery, but the favorite method
of introducing the over-skirt is by
the long apron Joined completely, or
at most opened down the front. One
reason for this is that long garments
tend to make even very plump figures
look slender, whereas rounded aprons
apparently increase the wearer's size.
An example of this kind is given in
Harper's Bazaar in an "at-home" gown
composed of crepe de chine and
mousseline de sole. The slightly
trained skirt fits with sheathlike
smoothness over the figure, but APP
pears to gain fulness because Of the
additional founces of mousseline,
which rise, one over the other, quite
to the waist-line in the back. The
long crepe de chine over-dress, of the
apron variety, is longer at the left
than on the right side which it curves
from point just over the left hip.
At the left side and back seam there
Is no similar curve, the crepe being
attached in a straight line where the
back ruffles end. The over-skirt Is
finished with a deep ruffle of NOUS
seline de sole, doubled, and garland
of large flowers which runs up the
left side is embroidered upon it in
chenille. All embroidered crepes or
mousselines have the flower petals and
leaves formed of colored mousselines
or lighter crepes. The bodice of this
dainty costume for hostess shows
combination of mauve taffeta and
white mousseline de sole. The latter
material forms the long yoke and the
shirred close-fitting sleeves. The yoke
ends in three deep full puffs over a
corselet of taffeta which is fastened
at the side by large oval buckle. The
bodice proper fastens under the left
arm Three billowlike puffs finish
the upper arm of the sleeve, and
bretelles OF taffeta complete the
shoulders. The soft high collar is OF
mousseline, and is finished with large
choux of lace on each side. The sleeves
are terminated by gathered lace ruff
fles, which fall we'll over the hand.
The requirements of the guest are met
by another Paris gown made Of still
rostlie- fabrics. This is Of closely
pleated mousseline de sole. forming a
redingote, which is again hung over a
full lace skirt. The lace Is very
fine Brussels net, hand-wrought. and
thickly embroidered at the bottom
with scattered vines and figures
throughout it's entire depth. The two
fabrics are made over dark gray
taffeta foundation. The yoke of the
bodice is of lace, closely gathered.
and lying in irregular vertical folds.
these folds being reversed on the shir-
red lace sleeves. The lower part OF
the bodice is draped with mousseiine
de sole, and finished at the center OF
the front with great bow of mousse
line, the loops OF which are divided by
an oblong rhinestone buckle. In
this instance the belt is of crushed
mousselipe, and the soft high collar
of pale gray satin. The accompany
ing toque is very small. and Is made
OF gray satin. fancifully crushed to
suit the indefinite character OF the
shape. There are two shaded gray
plumes, which spring, from among the
folds. and are held in place by tiny
buckles OF rhinestone.
THE LINGUIN.