The Jasper news. [volume] (Jasper, Missouri) 1898-1924, 1920-03-18

the form Of a draped polonaise, though
frankly cut in two pieces The waist
line Is low and loose-htting and the
draped skirt Is Joined to Il under
group Of minute tucks which extend
across the center Of the hack and front
only. A similar group OF tucks gives
fullness across the bust line; these
tucks stop short Of the armhole and
lose themselves in a sort OF dropping
blouse fullness..
The bodice is finished twIthout
sleeves. the armhole being surrounded
BY tiny points, or dents, embroidered
IN copper color silk. There Is, how
ever. an accompanying guimpe which
carries short balloon sleeves. also
tucked. The skirt Of the pOlonaise
has the disappearing tucks, and the
scalloped embroidered edge. 1t forms
jabot drapery at the sides and is
hung over an extremely narrow nnder-
skirt. The bodice finishes with
straight, round neck, but there Is an
extra collar ruff which stands very
stiff and is centered by band Of cop
per colored embroidery which falls at
the back In two "follow-me-lads" ends.
Dress Marks Back to the ThlrtIee.
Another polonalse dress developed
in cashmere serge Of fine quality and
trimmed with cerise satin cire Is EN-
broidered In gold and copper threads
and dyed srafla strands. The waist
line is low, the front fastening decid-
edly at one side. The embroidered
revers form a round yoke at the back,
which, descending over the tops OF
the shoulders, gives a sort of 1880
back. This model is very well thought
OF by mid-season buyers.
Every Frenchwoman who makes
any pretense at all to a smart ward
robe includes among her dresses one
OF black satin regardless Of what other
materials may be In the lInlelight Of
fashion. Mime. Jenny has made some
especially beautiful frOcks of black
satin for her customers to wear at the
resorts, such as Nice and Monte Carlo.
For these models she favors the
fiounced skirt. In fact, this may be
said to be the most pronounced feature
of her satin dresses.
These deep fiounces make the en-
fire skirt. Instead OF having a hem
on the bottom Of the founce, fac
ing of black velvet to about the depth
Of hem is used. The idea Of the
hounced skirt comes from the French
stage. Many Of these stage frocks,
which are having SO pronounced an
influence on all fashions, were de-
signed by this great dressmaker.
Gray, too, is favorite color for satin
frocks. One Of these gray dresses is
made almost exactly like a redingote,
which is worn over an overdress of
gray georgette crepe. The coat is
slashed at the side to reveal the under
skirt.
Three-Pieee Suit, Hem Of Lace.
Nine. Jenny is not the only design
er who does unusual things to hens.
Bulloz has introduced the lace hem.
He used It with good effect on a black
suit, which is accompanied by a long
accordion plated cape. Both the cape
and skirt have this remarkable hem,
which is formed by inserting seal
Hoped lace, the irregular side Of the
lace going toward the top of the gar
ment. 1t is a three-piece suit. the
third piece being blouse of white
brocaded silk. 1t is, Of course. a
typical formal afternoon costume.
1t is interesting to note that these
threepiece costumes are even more
pronounced for spring than they were
for autumn. Women delight in three
piece affairs as offering great advan-
tage over the old-time suit consisting
Of skirt and coat only, which had
to be completed by a blouse picked up
at random and which did not always
make good-looking dress when the
coat was removed.