The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1899-06-04

Is cut decollete; so the wings of fashion
are wide spread for these models of the
dressmaker's art.
There are so many pretty transparent
materials that it Is difficult to choose the
prettiest, but white batiste is uppermost
Just at the moment. 1t is Of the softeSt,
most sheer quality, too, and made up
with plaitfngs of point desprit on the
underskirt. One beauty of these new
batiste gowns is that they are made by
hand, generously tucked with the finest
lingerie tucks and striped and patterned
with lace insertions in the most intricate
manner. A model shown in the illustra-
tons has insertions of point d'esprit set
in diamond form, with small applique
design of lace in each space. Vertical
bands of the lace give the slender effect
to the bodice, and a little shoulder cape
of batiste trimmed with lace makes 1t
especially suitable for a garden party
gown.
Two skirts of the batiste are a neces-
sity for good effect, as the material is so
filmy in texture, and the ruff1es of lace
or batiste are sewn on the underskirt.
The upper one is fitted almost as close
and quite as carefully as if 1t were cloth,
and cut with a deep-fitted flounce trim
med with the daintiest hand-run tucks
and rows of Insertion between. A thin
white taffeta silk foundation skirt Is worn
underneath the other two. The combina-
ton of batiste and point d'esprit which is
sometimes used for the sleeves as well
as the ruff1es makes a charming gown.
Crepe de chine, so popular in white, tan,
gray and black for the dressy afternoon
gown, is effectively shown In white with
black dots, trimmed with silk braid and
fan plaitings of black, point d'esprit. The
bodice has round yoke and collar Of
pale blue silk and an elaborate trimming
Of renaissance guipure. pretty gown Of
bright blue nuns yelling has deep tucks
or double folds around the skirt, each
headed with a band of string-colored
linon embroidery, which also forms the
deep collar. The vest is of soft rose pink
tucked satin and the rosettes of black
velvet. Many of the French gowns have
a bow or bows of some sort to complete
their decoration, but there is always a
reason for them, a place where they seem
to be necessary, as they are never sewn
on regardless of purpose.
Another very striking gown of black
and white foulard Is trimmed deliberately
with black lace insertion. Bows of lace
and white chiffon, with steel buckles,
fasten the bodice, which has a yoke Of
ecru embroidery and q belt of pink silk
The string-colored lace, as 1t is so often
called, makes a very effective contrast
with so many of the new materials, but
white is a very noticeable feature of all
Tie ldlSSI SOWuS. II Is pure White, TOO,
in all sorts of trimmings, laces, embroid-
cries, pipings and folds, braid and gal
looms of all kinds.
White embroideries on black cloth are
one feature, and taffeta silks are made
up with appliques Of Venetian lace and
soft narrow ruchings Of white chiffon
An ACCORDION plated flounce of the taffe-
ia at the bottom of the skirt trimmed
around with three chiffon ruches, either
black or white, is a pretty finish, and the
overdress dotted over with incrustations
of white lace and cut In scallops or four
deep points falls over this. Lace finishes
the edge Of the overdress, and to make
| this sort of gown just what it should be
| some colored embroidery should be in
| troduced on the waist, with g. vest Of lace
or tucked muslin crossed with lace inser-
| lions.
! A very useful summer gown shown is a
| dark blue foulard spotted with white The
| underskirt is of white silk striped around
with white guipure lace and black velvet.
! The yoke Is a combination of white gui-
| pure, tan-colored lace and straps of black
velvet.
The variety in summer gowns is unlin-
tied, and certainly they are smarter than
anything we have ever had before. One
pretty idea for white silk, spotted with
black, is to use 1t as a lining for a blue
nuns yelling. Black taffeta silks are
| very much worn, and some of the latest