Evening star. [volume] (Washington, D.C.) 1854-1972, 1905-11-18
Many Charming Effects in
the Surplice Style.
TRIM LOOK ESSENTIAL
NEW SLEEVES ARE VERY SMALL
AND ALSO SHORT.
Dainty Chemisettes and Half Sleeves
Made Warm by Silk and
Chiffon Innings.


Special Correspondence Of Ths Star.
NEW YORK November 16, 1905.
The most dominant changes in the new
styles certainly have to do with bodices
and skirts The former, with their many
charming coQuetries. seem in no wise relat-
ed to the sloppy. long-sleeved waists of
several seasons past. Indeed. so complete
is the downfall Of looseness and simplicity
that the simple bodlces with wrist-length
sleeves seem quite antiquated. Whether in
the form Of an odd waist or as the bodice
of a gown, the new corsa ge Is dashing with
furbelows The word little" seems some
how to fit them all, the taut trimness which
the French call adjusted" creating this
look of dainty smallness.
The thing which accomplishes this trim
look most successfully is the crossed or sur
pliced effect, which is obtained either by the
bodice material itself or by trimming The
furore of all crossed-bodice effects Is said
TO be enormous in Paris, and dressmakers
who exploit them here predict for them an
immense vogue. The crossing, which Is
done in many Instances both back and front,
greatly facilitates the fit The eXaggefat-
ed contraction of some of the styles Is es-
peclally becoming to stout figures,
The sleeves of these very COquettiSh waists
are important details. Scarcely sleeve is
seen I'm a really fine bodice which extends
to the wrist. The newest lengths fau III
tie above the elbow, a little below or three
quarters down. The shapes Of the sleeves
are many. but an oblong pun, not too big,
is a favorte model. With one or two cross
over effects are seen sleeves whose snort
puffs follow the same graceful drape OF line,
and when softly folding textures are used
for these the effect is charming.
Stylish Models.
In o smart group of French bodices IL
Illustrated. this style Is shown upon the cen
tral figure The materials used are chame-
leon chiffon and pale rose chiffon taffetas.
The fchu is OF the taffetas with a killed
edge of mousseline, the sharply narrowed
ends reaching round to the back and there
tying above the wide taffeta girdle.
chemisette of tucked lace is shown with
this bodice This last smart detail Is
feature with almost all the others shown.
A little waist to the right of this depicts
one expression of the crossed back. washed
blue tafreta silk {blue laye) IS the material
of this with velvet ribbon in a slightly
deeper shade forming the garniture the
ribbon IS applied under the crossed sus-
penders with a silk frill edge and suggests
a bolero cut. The style gives the snort
WASTED look now so much admired.
Apropos Of this look, so completely has
Il pervaded all smart garments that long
waisted effect is almost fatal. Any trick
which may keep the bust high and the
waist snugiy girdled is resorted to, but none
is more eficacious than the boned crush
girdles which fit almost as snugly as short
cOrsets.
A Touch of Magenta.
A lace band with narrow fold of magenta
velvet shapes the surplice of waist in
prunelle chiffon. The crossed effect of an
other is made by the ends of puritan
collar. which cross with large black bone
buttons. The material of this latter waist
is deep blue silk (the shade of washing
bIueing) the contrast coming with narrow
black silk braid and black buttons. At the
front OF the waist a gathered fragment OF
black. Tapped over by the rest of the very
ornamental belt gives simmer look. rms
trick of making the waist small by the In
PRODUCTION of a touch of black is delight
full feature with the French styles. With
the most delicate color the blot OF black
may be seen, and in point of effective con-
trast no color could be so valuable.
The last waist 10 be described may be
considered by many the most effective here
II Is made OF white embroidered batste
over pale rose silk. A very ornamental
band o. the hattste forms the surplice. Ine
flowing sleeves and long shouldered effect
Of this dainty waist are new and charming
Iy distinguishing points.
A second drawing gives the three most
prominent qualities at present observed
with skirts. The princess model Is in pale
pink cloth-a shade OF pink which Is al
most a faint yellOw-with ornamental
stitching in heavy silk in the same shade.
The bodice IS in crimped pink chiffon and
cream French lace A directoire coat de-
signed to wear with q gown Of this sort
was OF cloth 10 match, with collar, cuffs
and pockets of black and white striped vel
vet
The New Overskirt.
The overskirt gown is very odd, the plain
under petticoac falling below the other with
some OF the odd.ty of too-long under
garment. The cut of the overskirt is COM
pletely round, and It is gathered full and
trimmed above the wide hem with the same
heavy stitching used upon the other dress.
The short coat eXempllfes late and be-
coming model for such jaunty etons.
Pale gray cloth with orange lace this
around the rosettes OF the Jacket and
touches Of violet velvet are the materials
OF this lovely dress.
The three-tiered skirt in the background
and its cape bodice Is one smart effect
used for street frocks. The other two
gems and all the bodices described are for
dressy service, such day or evening occa-
sions as require a smart or elaborate toilet
in elegant ColOrings.
To return to the princess skirt, some OF
the most beautiful effects of the season are
those achieved by this style. But the real