The Washington herald., 1916-06-04

! shown a gown which though made Of q
| combination Of batiste, net, lace and en-
ibroidery, nevertheless looks as II it were
intended to be a charming combination
and not picture puzzle.
| Contracting the waist.
Let us start with the waist l think 1t
best to make this waist by cutting out of
the batiste an entire kimono waist, run
ming the goods straight at the front. Fit
this waist loosely. As in many hmono
patterns, to provide for long sleeves
where the goods Is not extrayagantly
wide there will be a seam around the
upper arm about where the band of lace
! insertion is set In.
Use this batiste waist as a foundation
ION which to build the superstructure Of
lace. net and embroidery. The lace yoke
follows the round neck-line, and is made
OF rows of insertion drawn up slightly
| TO spring the circle of the neCk-line. This
looks better when put together by hand.
The next yoke is of embroidered net.
Plain cotton net will be equally effective.
The net is drawn up on a small cord and
sewed fiat to the smaller lace yoke. The
deep U-shaped piece of batiste is then
cut out and turned back on a cord. after
the two yokes have been fitted fiat. A
row Of lace edging. whipped around this
| line makes a dainty finish. Bands of lace
insertion are then set on top to form big
armholes. The lace may be scanned un-
der the arm to obtain the proper contour.
A short cap of all-over embroidery is set
on the upper sleeve.
All this time. understand. you are SIM
ply following the line OF your plain ba-
tlste foundation, which is cut away un-
! derneath these various pieces when they
have been properly adjusted. Thus no
| pattern Is needed for each individual
trimming. Your eye will guide the line,
using the sketch as a model. A band
of lace insertion. like that around the big
armhole. is set on to cover the seam.
and. last of all. a cum Of all-over en-
| broidery is added to the batiste sleeve
and finished at the top with a band OF
lace insertion and around the wrist
! with edging Your waist being now
complete. is sewed around the waist line
to belt of webbing, being allowed to
blouse slightly.
Widening an Old skirt.
! In this instance. the original skirt. fn-
ished around the bottom with all-over
embroidery, was narrow. so 1t was split
en- either side and the fulIness pushed
toward the back and front. New side
panels Of batiste were added. These pan
els are apparently split and unbutton
over a small panel OF lace band of
embroidery is set on above the buttons.
which may be Irish crochet or wooden
molds. covered with embroidery, or satin
in color to match the girdle, which Is
made of ribbon tied in rosette bow
| FouIard Walking Gown.
The other dress is an example of how
frock OF polka dot foulard or soft tar-
feta may be widened and freshened up by
means Of an apron effect OF plain mate
| rial. back and front. and the addition Of
d supplementary piece on the sleeve 10
match the apron. The collar Of white
piQue is also fresh touch.
! Additions of Plain Material.
! The old skirt of polka-dot was opened
back and front and wide panel Of new
/ material set in like an apron. a Bit
| effect was turned up on the waist back
and front and finished with buttons. In
the back. this bib is cut from an un.
scanned piece OF goods. 4 bias opening
! is used to facilitate fastening the gown
A belt of black patent leather with novel
buckles finishes the waist line. The pock
cts are made OF three-cornered pieces of
polka-dot taken from the portion Of the
waist which was cut away under the
new bib of plain material A deep cuff
and cap of the polka dot Joined by means
of the plain material complete an unusua
and attractive sleeve