Evening star. [volume] (Washington, D.C.) 1854-1972, 1905-04-23

time basque. Waistcoats are seen plenti-
fully on such coats. This feature appears
on many of the cloth visiting costumes in
both long and short basques. 1t has, how
ever, taken on straighter lines, and in short
is called the vest shape. Coarse linens,
white or colored, are used for the double
and single waistcoats. Collars and cuffs of
linen are usual accessories to the waist
coat. These are found on both silk and
wool suits.
The Louis XVI and the box coats are
furnished with ruchings and form finish
for all their edges. The ruchings are re-
placing the puffings which have adorned
skirts and coats for some time.
The linen coats are works of art and APP
pear in all of the modish shapes. One of
these is of eyelet embroidery, all its edges
being buttonholed. 1t is in hip length and
box shape. When the casinos get fairly into
swing the carriage coat will appear in all
it's graceful loneliness. These are gracing
the shops in wonderful array, many being
wrought of the English embroidery, many
being deliberately trimmed with ruchings
and ruff1es of chiffon and lace.
The girl says that this is The becoming
season, and so it is. If white in every kind
of fabric means becomingness. This is in
deed most fetching fashion. Not only
does white appear in all manner of frockS,
hats, shoes and spats, but few of the modsh
gowns in silk or wool lack the yoke or
chemisette and undersleeves of ffimy white
ness. White Is very becoming next to the
face and these dainty chemiSettes and I'M
than they can be made at home.
The suspender dresses which are found to
be so popular utilize white in another form
that of the blouse guimpe. These suS-
pender gowns appear in taffetas, linen, Bur
lingham, pongee and Panama. The sus-
pender straps are often in one piece with
the girdles, the latter extending sometimes
to a deep yoke depth, and forming the
greater part of the waist. One suspender
waist consisted of a bodice cut away in
low, pointed yoke shape without sleeves,
the suspenders being in one piece with the
bodice part and slit into two portions over
the shoulders. The guimpe worn with this
was of India null tucked and trimmed with
fine Valencennes insertion. The bodice part
of another was laid in small box-plaits, one
of these plaits extending over the shoulder
and acting as suspender SuSpenders of
black velvet with black taffeta skirts are
quite in vogue, and most of these have one
or more cross pieces in front and back as
stays. When the Suspenders are of silk to
match the skirt, they are shirred along the
outer edges and the fichu forms which APP
pear on many smart frocks also shirred.
In fact, shirring is seen everywhere. 1t
Is the weave of the spring fashioning. Not
only waists, but skirts are shirred and gath
cred in most fetching modes. The skirt
shirred to yoke depth has become more
modest and appears smoothly fitted over the
hips. Groups of two or three shirrs quietly
relieve the long appearance of the skirt and
often simulate fiounceS.
More than little can be said concerning the
new circular skirt. 1t is one of the most
graceful skirts we have ever had, and
at the same time, one of the most battling
to the inexperienced modiste. While 1t is
made sometimes with tiny tucks and other
touches of fullness about the top, it is also
made to cling about the hips, with just a
bit of fullness in the back and flowing full
about the feet. The effect is one of charm
ing gracefuness, and it will always be, be-
cause few can copy this skirt successfully.