Democratic Sentinel, Volume 16, Number 43, Rensselaer, Jasper County, 11 November 1892 — LOVELY FALL STILES. [ARTICLE+ILLUSTRATION]

LOVELY FALL STILES.

DRESSES AND WRAPS MINUTELY DESCRIBED. The Habit eC Wearing Jewelry In the Hat a Most Annoying One—How to Convince People That You Really Have Been Out W Town. Many New Materials. New Yerkoenwspendeace:

ERE we are again at the time for capes, and a modish one is shown, back and front, in these pictures. It is a dowbte cape with embroidery trimmings. The model was in gray doth, with trimmings of black velvet and ribbon*. The double cape is pointed at the back and goes down to the edge of the pelerine, diminishing in breadth. The V

has a doable collar, quilted and sewn back onto the V, which is fastened in front. The edge of the cape te ornamented by a ruche of scalloped cloth. The collars are edged with black velvet. The cloth V is trimmed with velvet ornaments which are sewn on. You will observe that it has nodangling ribbons. That is a whim already by-gone. It Is doubtful if under any circumstances the fashion of a brace of ribbons or a long rope of beads depending from the point of the bodice in the back, is graceful. Possibly, when the ribbon or bead rope floats off on the descending wave of the train it looks well, but when the train is held up and close around the knees, and when, as often happens, the rope of beads escapes and hangs alone and forlorn from the prominent drapery above, when it floats all by itself in the breeze, and the observer getting a profile view of the wearer, sees, oh, heavens! daylight between the dependent ornament and the wearer, then what does it look like? Why, nothing but a tail. The fashion might delight a Darwin’s soul, but to the ordinary human the suggestion of monkey ancestry is clearly enough set forth by the general wear without this particular advertisement. Now we have taken to wearing our jewelry in our hats, and an insecure feeling It gives one. That is what it means when a girl suddenly looks half scared to death and begins to claw at her hat. It is that jeweled pin she has in the bow, and which of course she cannot find by just clawing for It. It was bad enough to wear jeweled pine in the hair. One likes to have one’s valuables in view, but the hat fad te worse. Every woman who would have a jeweled buckle in her hat and peace at the same

time in her mind should provide herself with a pocket mirror. This is a season for formal visits, for going to picture exhibitions, for attending out-door sports, and, therefore, for the display of what are called calling costumes. One of these is depicted in the third cut. As worn at the time the sketch was made, It was in fawn crepon, the left side of the bodice being of fawn silk embroidered in gold; terra cotta hat, trimmed with ostrich tips oi the came shade and bow of moss-green velvet. Have a shell on a handt'ome pebblerock polished and engraved with a summer date, and Newport, or Bar Harbor, or Mount Desert, Charlie, or Dick, or something like that may be added. Have this put on your umbrella stick for a handle. It will help people to believb you really did go out of town. Some girls have come home with pebble “friendship” ring?. A pebble they, or, as she puts it, "we” picked up together. She does not say who “we” Is, but on the gold band of tho ring is “Bar Harbor, Aug. 1'?, Charlie.” Such rings don’t cost much, and it looks well to have two or three of them—sort of “scalps” to show for the summer. The next of the fashion plates shows a promenade costume. The skirt is of faille, the blouse of surah, and the vest is made at the back of the same stuff as the skirt, and in front of woolen material lined with silk. The skirt is in the ordinary style, and lined with silk or sateen. The middle seams, back and front, are sloped in such a way that the stripes form points. The two back breadths are a little raised at the top, so as to make graceful folds. In front the darts are made quite near the stripes on top, and are lost in the latter. The pleats at the back are flat. The bodice is fastened in the middle, the

.astening being hidden by the folds of the waistcoat. The breast darts are only made in the lining, over which the surah is stretched. The backs and sides are stretched. The jacket, is open behind, giving a view of the faille, as the stripes converge toward the top. The corsage is all in one with the vest which s sewn in at the shoulder-seam and at the sides under the arms. The belt is of silk, fastened in front by a bow, and

kept tn place behind by passing through a strap of the masarial. The part ot the vest forming a little waistcoat 1* sewn to the vest on one side and fastened on the other. This waistcoat is ornamented by buttons of passementerie. It is lined with muslin and silk. The sleeves are lined and tight-fitting, th< underneath part being of the same stuff as the dress, faille, ove, which the puffed upper sleeves are adjusted, as indicated by our engraving. Pleated surah collar and silk cravat are added, in a gentle modification of the masculine fad, which is now abating. There are changes in the fashions of morning costumes, as well as in others, but they are slow and conservative. It is a curious fact that brides and widows, when they go to the altar, respectively, for joy and grief, are disinclined to depart very far from old usuages in drees. There is some novelty, however, In mourning garb, and I have sketched a toilet worn by an exceedingly fashionable young widow at the funeral of her husband- The dress is dull black. The skirt is cut on the bias as usual. It la lined with taffeta, and is cut on the bias each side on top. This bias must, however, not bo exaggerated, inorder not to make points at each side of the

skirt. The bottom of the skirt measures about three yards and a quarter. At the top it has three darts necessary to make it set well on the hips, and behind it is formed into either flat pleats or kilts. The trimmings of crape arq ornamented with applications of the woolen material, but these may be dispensed with if required. The waist is. plain, and closed in the center with dull euttons of imitation crape. A sort of corselet in crape is sewn on this waist and is divided in the middle. It is advisable to line the crape with organdie muslin in order to stiff en it. The crape is cut on the slope, and the two sides are sewn back over the muslin. In sewing the corners, greut care must be taken, as crape easily unravels and gets down. The best plan is to sew it on a narrow ribbon, so as to keep it straight and smooth. The corselet may either extend from the two sides or be continued right around to the back, forming a point by joining the bands of crape. The sleeves are draped over tightly fitted lining. The bottom of the skirt is trimmed with a band of crape. The question of wearing mourning at all was discussed by a party of brainy women, in the presence of the writer, and three out of the five defended the practice. The gist of their argument was that a true mourner could not feel respectful of her dead if she did not wear black. Usage and right sentiment alike, they urged, demanded black toilets for the grief-stricken. The fourth debater was on the fence; She thought that mourning garments might well be worn by genuinely deep mourners, but on others they were a false pretense. She told of a truly conscientious widow who wore crape at her husband's funeral,

because, though he had been her senior by twenty years, she respected him greatly. But in marrying him she had thrown over a devoted lover, who was still a bachelor, and who, as her heart knew well enough, would be a suitor for her hand as soon as propriety would permit. “And how long did she ear mourning" was asked. “Six days,” was the reply. “She felt that she was a humbug until she laid it aside. In six months she was a wife again, and no doubt, if her present husband should die, she would feel like wearing mourning a year at least, for she loves him.” The fifth woman, although she spoke tenderly and respectfully of those who outwardly mourn their lost ones, attacked the custom vigorously. "Most women are in favor of mourning,” she said, “yet it is evidently a pernicious custom. It is net good taste, for one thing, to call a'tention in general to your affairs in particular, whether happy or not. Again, the outlay of money is almost wicked, s nee no good is attained for anyone. The wearing ol the dismal garb tends to keep the mind upon the shadowed side of one’s bereavement, and that is, to say lhe least, uncivilized, Why, then, do women favor the custom? I have made a few inquiries—guardedly, o’ course. Now prepare to see your castles and ideals tumble. ‘Oh, mourning is so becoming,’ cried one pretty little blonde. ‘lt gives one distinction in a crowd,’ another dainty friend of mine explained, which meant in plain English that it gave a woman an opportunity 'to do what in her soul she always wants to do: to take the world into her confidence about her private affairs. Only the most rigid cub om of well-bred folk prevents women from wearing white, even on the street, that the whole world may know they are brides. A woman has hardly learned the color of her child’s .eyes before she yearns to take it out all by herself that the world may see she has a baby." Copyright, 1802.

AN OCTOBER MANTLE.

A CAMMING COSTUME.

A MOURNING TOILET.