The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1899-06-11

, accordion plating at the bottom. A
plating of the foulard forms the lower
skirt of one stylish gown, and the over
dress is trimmed with two rows of cream
white festoon lace bordered on one edge
with a tiny ruche of pink chiffon, which
also edges the plating at the feet. The
bodice has a yoke of cream lace over
white silk, the lower portion being COW
cred with pink chiffon, over which YER
teal bias bands of the foulard are ar
ranged with spaces between strapped
diagonally across with the lace on bands
of white silk
Transparent sleeves of chiffon match
Ing the color in the pattern are feature
Of the latest foulards. Lace is also used
for this purpose, and a novel effect is OBJ
tanned by making either the upper or the
lower half of the sleeve transparent.
Certainly the sleeves have about reached
the limit of lightness but they are so
deliberately trimmed that we can almost
forget the fullness we We're so loath to
give up. 1t is a comfort to know that
they cannot diminish much more and as
fashion is ever on the move the next
change is obvious The change is not
in the immediate future, however, and
we can anticipate for the coming fall
very much the same outlines in dress as
we have now, unless perhaps we may De
nodded to the form of the trumpet a lit
tie more carefully than at present.
With this slight forecast of the fash
ion three months hence, 1t is safe to pre-
dict that the soft, fine broadcloths will
be the leading material for wool gowns,
as they have been for the past season.
The crepe de chine and nuns yelling
gowns, which have gained such a hold
on the popular fancy, will be very useful
for semf-dress occasions next winter, in
the pale gray and beige tints especially
Some of the prettieSt models are run with
fine lingerie tucks all over the tunic and
bodice, meeting in slanting lines at the
seam down the front of the overdress.
This may be covered with band of lace
Insertion or drawn together with a fancy
stitch, as many of them are. Dainty
gowns of crepe de chine are made with
an unlined yoke and sleeves of Irish
point. Corselets of lace, too, are pretty
finish. Bolero fronts of taffeta covered
with lace are a dainty addition, and soft
belts Of black tulle fastened with a ro-
settle are still another feature of the gray
gowns.
A pretty model for nuns yelling, shown
in the illustrations, is trimmed around
the skirt with rufffeS and groups of tucks
with lace insertion between. The sleeves
are tucked, and the bodice, with lace
yoke, is made very simply with small
plaits at the belt and a fichu drapery of
the material around the shoulders. A
striped with a hair line of pale blue,
shows an underskirt of plain white silk
with graduated bands of blue silk stitch
ed on. This also forms a portion of the
bodice, which IS trimmed with lace. An
other Of the many models carried out In
Irish point lace Is made over pale yellow
satin with plaitings of yellow chiffon,
edged with ruchings around the feet
Chiffon embroidered with pale pink and
shirred into flower effect fills in the
j vest opening on the bodice. Pale gray
nuns yelling trimmed with ivory lace
forms still another pretty gown with an
under bodice of tucked gray taffeta silk
soft pink foulard spotted with black
combined with cream lace and black vel
| vet ribbon is the material Of Which an
| other gown is made. An odd feature of
another foulard Of blue, patterned with
white, Is the trimming of white taffeta
| silk bands stitched with black silk and
| finished on the dege with lace beading,
! through which narrow black velvet rib
! bon is run. This forms the yoke, and the