The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1900-03-29
DAINTY FICHU EFFECTS.

DAINTY FICHU EFFECTS.
There is great variety Of fichu effects.
A bolero Is certainly not a f1chu, nor is
ftchu Jacket but the two forms often
meet. For instance, a short jacket with
scarf ends that tie on the bust has
hchu suggestion, while soft folds about
the shoulders that turn back and run
around under the arms In the form OF
little ruffles certainly outline a jacket
effect. A gown Of panne in that pretty
shade of green known as celery has the
usual pfeated skirt stitched down only
over the hips, and with the stitching
covered by passementerie Of the same
color. The long sleeves to the bodice are
covered with Luxeuil lace. The same
lace. unlined, makes a jacket over the
panne bodice. The jacket Is short and
ends on the bust with a lace bow This
model would undoubtedly lose It's efeec-
tiVeneSs If carried out in cheaper mate
rails.
The prettlest idea possible is fchu
making the top to bolero, as in the fol-
lowing gown: Cream guipure over bright
yellow satin forms the corselet and deep
pointed yoke and choker. The material
of the gown IS thin white wool. This
makes a short bolero, which fastens in
front with gold ornament About the
shoulders is a scarf of yellow gauze, dot
ted with terra Gotta, which forms q fichu,
the ends of which disappear in the top of
the bolero. The skirt is shirred in clus-
ters about the hips.
Long. fiat shoulder effects are again
fashionable, and are often obtained by
the use Of deep collars. In the three fol-
lowing gowns this effect may be noticed ::
! One gown Is Of pastel pink cloth; the
| skirt is made with the box pleat be-
| hind, and with d cluster of small pleats
! on each side near the front. A four-inch
! entredeux of lace trims the train of the
skirt in scallops. and then passes up the
sides in the same waves to the belt The
bodice closes invisibly, and is trimmed
with bias folds of cloth that pass about
the figure. There is deep lace yoke and
this, with the aid of a ruffle of pink
panne produces the effect of cape The
same effect is obtained on a second gown
by deep collar OF accordion pleated
null, finished by q border of guipure
The whole effect Of this gown is youth
full. The material light blue crepon,
Is gathered into bias folds, arranged in
shallow VS. just below the bust, and
from here the material is gathered again
into the belt A crayat Is Of lavender
satin; 1T ties with long ends that tuck
into the belt. The belt is of the same
color. The skirt is shirred about the
waist In shallow points and falls in soft
folds. The third gown a spring visiting
suit, has princess tunic of drab panne
with underskirt of cloth of the same COL
Or The tunic Is much shorter on one side
than on the other. and on this side it
opens for a space of about four inches
up to the armhole. This opening is trim
med with small black buttons and laced
with black velvet ribbon. The outside Of
the sleeve is arranged in the same wav
For cape effect there is first a round
yoke OF pale blue mousseline de sole. ar
ranged In soft circular folds, and framing
this Is six-inch border of blue cloth. on
which are applications of black velvet.
The best dressmakers are maxine, +u-
mes 1t is wrong to imagine them as hav-
ing gone out though they are by no
means SO common. on gowns for the day-
tlme as they We're. Certainly novel 1; a
tunic of guipure trimmed with a patfarn
or MOWERS cut out Of red velvet and an
pilqued on the lace. This is worn with
an underskirt Of red mosseline de sole. ac-
Gordon pleated.
Evening gowns seem to grow more and
more elaborate. Satin is always yelled
! with mousseline de sole or gauze IN
! give softer effect, and even costly Iaces
| are embroidered and improved" I'm count
! less ways The time has certainly pass
| ed when handsome piece Of satin or
velvet, trimmed with a founce Of real
lace, made an evening gown. Now, half
| a dozen materials are combined in The
| same gown, and even the richest and
most beautiful stuffs are regarded simply
! as groundwork for embroideFfes. Yet.
| descriptions of these gowns are con-
fus1ng, the effect is rarely so. The artist
| &c French dressmaker has one single eff
| feet in mind, and all the materials and
/ colors she uses are simply means to
| this end; she uses them as a painter uses
| his palette.