The Jersey City news. (Jersey City [N.J.]) 1889-1906, 1899-04-29

It is easy to make this gown, n 1T is
very effective hen done.
The other style Is intended more for
the street. though the tunic itself Is a
shape that would look fully as well for
home, and the form admits of quite a
variety of trimming, which would adapt
it for many requirements.
One lovely idea is to have a full ruffie
of lace to follow the outline of the seal
lops. That forms a sort Of cascade
down the sides, very graceful and pleas
ing. The model vas of gray whipcord
dead fine" and the underskirt was
quite plain. The tunic was bound with
a miiliner's fold of satin. The natty
jacket was bound in the same way
and worn open over a white satin vest
with a large jabot of lace and white
silk null. Gray and white always make
an ideal costume. In fact, there are
few oolors to which white cannot be
added with benefit as a combination.
One Of the most stylish of the gowns
of the season is of a soft brown broad
cloth between a snuff and mordore in
shade. The skirt is cut to simulate a
tunjc and has two rows of half inch
seal brown velvet ribbon all around 1t
and up the side.
The bodice is in form of a blouse with
the dip front so often seen on Jackets.
This is the first time I ave seen it on a
waist, and I like 1t. The velvet is also
applied on the waist of this costume,
and six crocheted buttons close it.
Their is a wide collar of white velvet
slashed for revers, with a revers collar
of the cloth above it. The white one n
the white velvet cuffs are trimmed with
one row of the brown velvet ribbon.
The stock and tie are of dotted silk
m~usiin-white, of course. This COM
bination of white and brown is par
ticularly happy.
I uppose I ought to say something
about sleeves. They are in a transition
state and appear to me to be yet uncer-
tain Of the future. Some of them are
measurably full at the top. Others are
almost without sign of FITNESS. Many
have the wrists very long and sprung,
pointed or slashed. Then others are cut
off short at the wrist bone and finished
plain or with cuffs, and these may turn
up or down. A few a cap at the
top, and some ave puffs. Tucks
Iengthwise and across are sewed on
some, but the newest idea is the elbow
sleeve, witt, stiff upturned cuffs. Ell
bow sleeves ma vary Is well as the
long sleeves.
/ see aznong them wrinkled, pulled,
tucked, folded and capped designs. One
of the pretttest Of these had the whole
sleeve made Of point de venise all over
lace, with the scalloped edge at the ell
DOW. Across the top Of the sleeve were
two ruchas Of black net lace, with a
row of narrow velvet in the center, and
a strap Of inch wide velvet, ending in
bows front and back, crossed the shout
der at the seam. There was a ruche of
the lace at the lower edge.
The black and white idea is carried
out In SO many ways that one cannot
begin to menien all. but the putting
together of black and white lace on
one costume is one of the best liked
ideas. It always produces a refined yet
striking effect. Brussels net is laid in
very narrow tucks and sewed by ma
chine. This. when made into rather
deep loose rufies, is unusually pretty.
1t is often used as a sort of founda-
ton to show up white lace, when black,
or vice versa.
Fringe Of heavy silk, knotted and
made right on the edge Of the garment
it is intended to ornament, is much
liked, but 1t costs too much to become
common One sees 1t on rich silk and
velvet mantles and capes, also ence in
awhile on a fine basque n tunic. 1t
Is made to match. Silk and beaded
passementeries are in vogue for hand
some dresses and NANTES and always
will be, I think.
Yokes, breteiles, front pieces for
waists, berthas and all sorts Of pretty
set designs are presented in various
new combinations. Some have neat
passementerie designs wrought Of fine
silk and mohair soutache, with jet
beazs sewed alcng.