The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1905-04-07
"A BALL GOWN WITH SASH AND FIGHU
Copyright, 1906. by r. F. Ayers

t0OpSliBhN, 1SoO' Dy IL Il. AsCASl
N YOUNG and pretty woman can
M wear a sash draped on her gown
and not invite uncomplimentary
criticism. But she must possess
both of the aforementioned attributes
and claims upon our attention If she
would adopt this mode. To all others
the advice is modestly proffered that
they leave these two fads of the day
to others and content themselves with
novelties more in their line, those that
are not on the quaint and picturesque
order
Bearing this suggestion in mind we
address ourselves for the present to
her beauty and youth. To show the
g~racefulness of her figure and those
svelte lines which disappear with adj
vancing years there is nothing quite SO
dainty and becoming as broad scarf
ends draped from the back OF the bod
ice and soft white lace or chiffon folded
about the shoulders. A pale pink ball
gown had both of these features and
looked uncommonly we'll on the one
year bud it EMBODIED. A mousseline
skirt fulled over a pale tafeta lining
touched the floor in front and dipped
into a slight train. Handsome APP
pliques of venetian lace were applied
On the mousseline quite deep, within a
few inches of the top, in fact.
The low, round bodice was odd
enough to call forth comment, though
to be sure it o so dainty and pref
ty that ii could not fail to elicit praise.
The front seemed to consist chiefly of
a deep pointed waistcoat of pale pink
satin exquisitely embroidered in a
Louis XVI pattern in pale silks and a
bit of gold. There was not even a sus-
piciOn of a curve in the front of the
waist where it opened and the embroid-
cry pattern descended, made the sharp
turn at the point of the waistcoat and
then sloped upward at the sides. Then
a broad piece of pompadour silk was
fastened to the top of the bodice front
and drawn back to the waist, where ii
apparently tied in a knot with long
spreading ends like a sash and yet it
fulfilled the functions of a train.
A fichu of the mousseline half con-
cealed the beautiful sloping shoulders
of the wearer. The fichu was lace edged
and was caught at the bust with long
tapering ends falling below the bodice
and the lace edge forming a cascade all
the way. The pompadour elbow sleeves
terminated just above the elbow, where
they were finished with lace and fas-
tened on the outside of the arm with a
mousseline chou and pointed scarf ends
like the front of the fichu.
Let us turn from the contemplation
of youth and beauty arrayed in pic
tureSque simplicity to the well pre-
served n good looking matron rObed
in stately black satin, which, by the by.
is n of the smart fancies of the sea
son. The striking thing about her cos
tune is the petticoat and panel front of
black Chantilly over white satin which
shows o the hips from the depth
or three inches or so and gives the i'm
preston of a yoke. Starting this far
below the belt is the full trained black
satin skirt deliberately trimmed as only
such gowns are. The top of the black
satin part is shirred several times on
cords. and 1t is finished on the edge
with a tiny black ruching, while just
inside of this one, and placed SO as to
leave a space of the white lace showing,
Is a second row of ruching. the two
ending in a point at the foot of the
skirt front. All round the skirt is a
larger and similar ruching. Above
comes a design of black satin applique
which takes the form of bowknots on
h black satin and Of rosettes on the
Chantilly panel. Then running round
above the knots is a scroll of the ruch-
ed satin.
The black satin bodice is drawn over
to fasten on the left side with two rows
of jeweled buttons. The top turns back
in two wide revers faced with fine
shirrings and tuckings done on white
mousseline de sole. Across the front so
as to fill i'm the very decollete bodice is
a piece of the same tucking and shir-
ring, left transparent, however. -Four
graduated and not very large puffs of
white chiffon. having separating bands
OF black satin, serve as sleeves.
Not only on house gowns, but OF the