The Anaconda standard. [volume] (Anaconda, Mont.) 1889-1970, 1899-04-02

like the fresh young leaf of spring tine,
or the soft gray of the pearl, or the
1owery branches of the lilac tree. Never
Gus and gay, and then the pretty whims
in self-colored effects that l cannot
quite describe to you; they really de-
mand to be seen.
For instance, one pale blue cloth frock
was embroidered in Identical pale blue
thick silk thread and tiny little pieces
Of cloth cut to resemble the outlines of
flowers and leaves. and laid with raw
edges on the cloth. Yet another pale
cloth gown had a real lace yoke worked
over in a whimsical fashion with tiny
strips of the pink cloth of the gown. It
was simply fascinating and was mixed
with pink coral. This mania for a fiat
decoration mean this enriching the
surface without any contrast of color
is a fundamental feature of the modes
of this particular moment.
AS I think I have told you before the
Parisienne model makers are taking
no end of pains to get their laces dyed
to the exact shade of the cloth on which
it is to go. One evening gown I saw
was of a mysterious pinkishyellow
tone, and had lot of fine guipure lace
upon 1t the exact tone of the silk of the
dress. An evening cloak at the same
place had also incrustations of lace
identical with the biscuit tone of the
silk.
I think the notion that has led up to
this tlatness of effect in the decorative
element is that just now everything
must be subservient to silhouette. Line
and composition of line are the domi-
mating ideas.
However, I am getting positively pro-
found: let me HE back to few more
details of my cloth frocks. Most of them
had lace neckbands, that is, the neck
band was covered with lace. From
three to five rows of narrow black rib
bon velvet decorated the majority of
these and the effect was certainly a
very happy one. A rosette of the mar
row velvet should cover the fastening
in the neckband at the back.
] hope the following suggestion will
help some of my readers out. Any light
cloth gown with guipure on Maltese
lace yoke and trimmings can be brought
up to the very extreme of style by hav-
ing the lace taken off and dyed the ex-
act shade of the gown.
A gray cloth gown, remarkable for
its simplicity, differed altogether from
those just described. but was fully as
charming. The high collar is covered
with tucked chiffon; stitched bands are
carried round the shoulders and across
the front. There is little vest match
ing the collar of white chiffon, and in
side this is low waistcoat of silver,
which reappears at the cuffs of the long
sleeves, falling over the hand The
bodice fastens sideways with three
buckles and she skirt in the front, the
| opening hidden by a rounded tunic
| which hooks at one side The under
| skirt is of 'the same shade as the gown
| Itself, but is covered with horizontal
stitched bands of darker tone of cloth.
| A great element of smartness is
shown in a fawn cloth Jacket with a
| royal blue collar in panne. This ac-
companies a fawn toned cloth dress
with close set. stitching, the Jacket
| opening With a row of buttons and tabs
| fastening a. the side. Navy blue still
| remains greatly in favor for those who
| feel the light colors to be extravagant,
| and very dark 'tcne of cloth forms
| skirt and bodice alike, trimmed with a
| bias band of black satin stitched into
| some five or six deep cordings. The
| skirt is cut with a tunc that forms a
| point in the front and several points a {
| the side. Another dark blue. made with
| a zouave. shows broad white satin
| band spotted with red. 1t is trimmed
| with a narrow fancy gallon. tzort of
/ fringed edge. which forms devices on
| the back and trent of the bodice and
skirt and round the epaulets. The great
novelty in this is the long pointed rev
ers in the front, which seem quite loose