The Butte inter mountain. [volume] (Butte, Mont.) 1901-1912, 1901-10-05
LAMP SHADE SKIRTS ARE THE LATEST.

tackled on to q sleeveless silk lining. The
fur plastron may be in one piece. fasten-
ed straight down the center Of the front
with a jabOt Of lace falling out OF tho
throat. 1t requires such a mere bit
of fur that 1t can be remOdeled out Of
an old mum or sleeve. or any scrap that
one may have. Perfectly stunning fur
vests are made OF broadtail ermine chin.
chilla. mink-in fact any good fur-and
they are delightfully."- set off with toqueS
made Of fur to match. The one objection
to them Is that it is hard to leave them
Off without risk of catching cold after
becoming accustomed to them. But
aren't they warm and cozy?
-
Sleeves continue to grow larger and
larger. and almost one might say more
and more grotesque. What shall we do IL
they keep on swelling at the wrist?
Think of the bother of crowding them
into coat sleeves. Sheer desperation
will drive us to wearing capes again.
To he sure, the religious sleeves" that
open wide at the bottom. are noticeable
on the majority Of this years wraps but
even these, cOmmodious as they seem to
be. are not guarantees against rumping
and crumpling, for they are made more
or less tight and coat shaped at the up
per part, and the full undersleeves have,
of course, to be crowded through this
snug upper portion before they are al-
lowed to rest easily under the bells
shaped opening.
Religious sleeves predominant on the
new full-length cloaks, made of heavy
black satin, that have quite superseded
the taffeta cloaks. They are lined with
rich cream brocaded satin and warmly
interlined. Il
Jet has come in again, though rather
sparingly to begin with. 1t seems to be
the inevitable garniture for satin. The
models range in price from 500 up. I'm,
doubleday they could be made for less
than half that price.
A stunning little sack shaped coat
with religious sleeves, that has not yet
been put on exhibition, Is sketched here.
The material used is smooth faced white
cloth. The braiding is done in fancy
black silk and twisted with fine black
chenille. The standing collar that Is
rounded away in front and the band at
the top Of the rever are of vivid scarlet
cloth, matching a scarlet silk lining. Be.
low the cuff is full puff of black velvet
and a big velvet made bow stitched and
lined with white satin. Is fastened under
the chin. The heavy cords and tassels
that hang from under the revers are Of
velvelt and chenille. An appropriate
walking hat to match the coat should be
of red felt. trimmed with tight folds Of
red velvet and crisp red wings.
That boleros have not passed out OF
fashion is clearly indicated by the fact
that a number of the most expensive i'm.
ported models are made with modified
boleros of some sort. Those most gen.
orally in favor are extremely short and
barely reach to the bust line. They are
made over a tight lining. with girdlo
folds draped to 1t. extending from the
bust to below the waist line. The lining
is whaleboned to hold 1t in a decided
dip at the front.
Very elegant is toilet hat Is suggest
ed at the center of the sketch. 1t Is IN
light violet yelling finely dotted with
white At the bottom of the skirt three
bias folds overlap one another. Tho
draped girdle that reaches we'll up under
the arms is Of violet taffeta. The bOlero,
which is quite original, Is short behind
and falls in two long shaped panels clear
to the ground in front. The whole bolero
is cunningly piped with coral-colored vel-
vet. The guimpe is of yellowish lace
over white silk. It is traversed by little
tabs of velvet, caught down at either
end with amethyst buttons. The gown
is lined with taffeta, the drop skirt be-
ing made separately and heavily founced
about the foot.