The record-union., 1899-03-19

pleats are no longer stitched. and the
faille form a pleated Hounce widening
to the edge.
Over this faille skirt is a tunic of
Venice point lace, which falls down as
far as the head of the founce. 1t is
shaped and made in one piece with the
lace that covers the corsage. On this
tunic are laid bands of violine velvet,
rather deeper than the taffetas in color,
three centimetres wide and cut on the
cross. They are of unequal lengths, di-
Iminishing from the bottom To the top in
gradation like a staircase
The corsage, which matches the skirt,
fits closely like princess dress, and
covers it except down the center in
front, where it opens. Each side of the
opening is trimmed from the neck to
the waist with a band of violine velvet.
The bands on the skirt are continued
in an upward direction in unequal
lengths on the corsage. All of them
have purls, and are embroidered in silk
thread upon the lace. The neck TRIM
ming is of violine velvet, surmounted
by small lawn collar. The sleeves are
fiat, and made with stitched pleats
forming chevrons.
Green and pale blue cloth make a
nice combination. A viola gown shows
this, with the green cloth cut up on the
skirt to show an underskirt of blue, and
with line of jet embroidery to out
line. The jacket has blue vest and
blue yoke that cut off the tops of the
G in, 20
other gown is of black cloth--the "drap
mOusseline"-and trimmed with steel
buttons. 1t is made with a short bolero,
cut to show an under blouse Of gray
panne.
Straw, embroidered with paillettes,
are effective, or with appliqued figures
of lace. Embroidered straws may per-
haps be regarded as one of the import
| amt changes in fashion. An original
=! idea is a hat of cloth or brocaded silk.
| lined with straw. "A hat so elaborate in
its original fabric is' little trimmed. and
depends on its shape for it's cachet. The
double straws, black lined with white,
or butter color with cream. are not ab-
solutesy new, for they were worn last
year, but they are more important now
Here is a description of a pretty high
dress for dinner. 1t is of white satin,
covered with white mousseline de sole
The skirt is extremely tight around the
figure down to about halfway, whence
the width develops gradually to the
bottom 1t is long in front and at the
SIDES, and is made With a train OF mod
crate length. TIE ground of mousse
line de Sole iriaid with garlands cut out
| OF black lace, raprese l,ing foliage and
| fruit
The lower part of the skirt has the
appearance of a shaped nounce a. the
sides and back; it IS headed with black
taffeta ribbon laid on the mousseline
de sole and embroidered with black che
mile and spangles. This ribbon is con-
tlnued up to the front on each side.
forming an edge to the narrow apron.
In the center, at the bottom, is a large
Louis XVI. bow of black taffetas. inlaid
IN the mousseline de sole, and embroi-
| dered with chenille and spangles. All
round the bottom of the skirt is a. band
of black lace insertion inlaid in the
mousseline de soie
Ihe cersage is of the same materials,
and in the same style as the skirt. In
the center in front is a Louis XVI. bow
IKE that on the skirt, but with long
ends, and above it is a yoke of guipure
cut out, over white satin, and embroi-
dered with silver beads. This woke di-
m1nishes ait the top so as TO form
trimming for the neck The back of the
corsage is ornamented in a similar way
TO the front. The waistband is of
| black taffetas simply draped. The
sleeves are of white mousseline de sole
over satin, made long and tight. and
are 1nlaid with black lace like the resi-
! of the dress.
Cloth is sometimes perforated in a
pattern so fine and intricate as to sug-
gest lace. Indeed, this is sometimes
called "guipure cloth" A tunic made
IN this manner of white cloth and let
embroidered is worn with a gown of
prune panne. There are some touches
OF pale pink in the gown. which COM
piete a tout ensemble rich and original.
several shades of green are used in
one of the combinations of cloth and
mousseline de sole so fashionable now.
The skirt is of cloth in almond green:
over this is a tunic in mousseline de
sole of darker shade, and trimmed
with even darker velvet ribbon. The
tunic is cut low in front, with lace re-
vers, and shows and under waist of
white satin embroidered with coral and
black lace figures.
Coral embroidery is effectively used
on reception gown of white satin and
mousseline de sole. The blouse is of
the thin stuff, dotted with coral and
worn with a short bolero and sleeves of
satin. The skirt is cut into points that
are edged by deep silk fringe, and this
hangs over an underskirt of mousseline
de sole.
Everything now seems to be termed
satin. Satin sublime for example,
looks like silk and hangs like a fine
cloth, and yet it is called satin 1t is
a beautiful stuff, and accordion-pleats
to perfection. It is used in a shade of
warm tan, to make one of the prettiest
afternoon gowns. The blouse and up
per part of the skirt are embroidered
with narrow white ribbon, and below
the skirt hangs in accordion pleats. The
blouse has tucked yoke of pink satin,
finished on the left side by frill that
stands out over the shoulder; the
blouse fastens on this side with three
pink bows, and the narrow belt is pink.
The best skirt now opens on the side,
and in nine cases out of ten there is
enough fullness behind to give a few
long lines to the figure. The model
gowns, to be sure, are as close as pos