Democratic Sentinel, Volume 17, Number 5, Rensselaer, Jasper County, 17 February 1893 — FASHION'S LATE FADS. [ARTICLE+ILLUSTRATION]

FASHION'S LATE FADS.

SOME NEW THINGS FOR WOMEN TO WEAR. A Pretty Ball Dress —How Sleeve Protector* Should Be Worn — Handsome Reception Costume— Use Feathers Instead of Crinoline In Your Sleeves. Styles of the Season. New York correspondence:

O DIC E S properly have no wrong side. I That is, the bones 'and all that are Dut between the material and the lining, which is of silk or satin, of a contrasting color to the outside, so that the dress is as pretty as can be when it hangs over a chair while my lady changes or as It Is laid out ready for her to get into. Sleeve protec to. s,

those dreadful th'ngs, are basted Into the corset cover armhole. They change as often as my lady changes her corset cover and are washed as often M the covers are, of course. The 014 Mttidy custom of having protectors fastened into a diess-sleeve, staying there as long as the dress is worn, is all done away. If yi udo not wear t orset covers, and do not want to, then you have your protectors slipped into a tine linen bag, made just to lit, which has little ribbons at each end. There are ribbons in the armholes of your dress, and the protector is tied in and is not put away in the dress when the dress is taken off, but are untied and taken out. The best protector is a heavy odorless rubber. The first illustration shows the back view of a pretty ball dress, and a costume with a shawl blouse. The first is of filmy material, tulle or gauze, with an underdress of silk or satin both for the skirt and bodice. The skirt of this frock is gathered in at the waist and is trimmed with a tulle ruche about the neck and bottom of the skirt, over which parses a garland of roses of a delicate shade, with buds and leaves complete, and which on one side pass half way up the skirt. The waist is covered with tulle very full, and at tho back has a very wide sash, which fastens under a large bow. Bands of roses form the braces, and both the waist-band and the sash are made of satin. Turning to the right-hand figure, there is a shawl blouse made of white silk crepe, with Valenciennes insertion. The perfectly plain skirt displays the same insertion

at regular Intervals, which may be regulated according to taste. There is a high Medici collar. The sleeves are very large and puffed; below the elbow there is a long cuff, which is stltohed in by a herring-bone stitch. The waist passes underneath the skirt, and the sleeves are provided inside with epaulets of stiff muslin in order to keep them upright on the shoulders. Two triple folds fasten the back of the collar to the waist. A reception costume for a middle-aced lady is next pictured. It la of satin trimmed either with plush or marabout The belt should be cut wide or narrow, according to the figure of the wearer. The trimming for the waist can be real or imitation lace. It falls from the ,neck in large folds, someth ng like a Zouave jacket, and may either hang loosely pr be fastened in under the belt. The prettiest cloaks for evening are those made to match the gown with which they are to be worn, the outside being of the same material as most of the gown, and the lining either the other material used in the rtresp or a shade that carries out the second color of the gown. For instance, a gown of green and white would show a cloak of either green to match, or white, lined with the other color. A pretty model is the military oape, coming to the knees and made lull. It can be still longer, like the old-time dominos to cover all over. Another model shows a yoke of tho material finished with a very lull ruffle edged with fur. The rest of the cloak falls full from under this ruffle, and is of the second coior and material. It is also edged with the fur. Another lovely cloak Is in yellow velvet and white brocade. The yoke and lining are of the yellow velvet; the rest

of the white brocade. The fur is sable, but the model can be followed out much less expensively and almost as charm- | ingly. A cloak for summer or winter wear is most unique. The lining is of very rich silks back velvet, and the yoke of the same. From the yoke hangs almost priceless lace. Of course, through the lace the silk back of the lining of the cloak shows. We are not all so rich as that, but ir you have such an heirloom as a beautiful old lace

shawl, there Is a use for it, and the rest of the expense can be eluded by lining the velvet with silk. To tell the truth, If the silk is a perfect match no one will know. Still no one could fail to know what it was that Bhowed through in the cloak I saw. It was the silk back of the velvet inside the cloak. The third picture is of a handsome house dress in cloth and plaid silk. The skirt is opened at the left side to admit a panel of the silk. Three large buttons are placed where the skirt is joined, just above the panel. There is a Zouave jacket bordered with passementer.e. Feathers and not stiffening is what you should put in your sleeves to make them stand out stiff and crisp. Feathers are light and hold their place and resume the r place if they are crushed. If you stiffen with crinoline your gown is only new and fresh-looking the first few times you wear it. The newness of a gown lies almost altogether in the sleeves. We hear lots said against the great sleeves, but don’t you join in it Instead, gratefully take advantage of the fashion, and remember chat from the train that is too worn and old for any use you can get at least a pair of enormous sleeves and perhaps a bertha ruffle to go over the shoulders and to a point in front. Mere soraps of brocade, left overs and bits will do for a top

puff on the sleeves, or oven a ruse to hang over the top of the under puff of plain goods, and so add to the riohness of the whole—surely a muoh more artistic use of goods and bits than when we used to cut up stuff to make little bands for collar and cuffs, and, perhaps, a belt. Now that the elegance of ,a gown depends nearly all upon the sleeves,you can with very little work secure an effect of elegance. You can bead or paint enough for sleeves, cr stripe the top puff with ribbon, or bind the top of the two puffs or the one big one with strips of line stuff, ribbon-like, only loosely. It is worth while to get enough gold lace or net of good quality, so it will not tarnish, to make two big covers for the puffs. With these slipped over the sleeves of your white brocade, shortwaisted bodice, and a gold girdle, you make another dress out of your white silk gown. Or, thus you may make the white brocade bodice do for two dresses—the one with a heavy brocade skirt, perhaps beaded with gold, with which, of oourse, you would wear the bodice fixed with the gold sleeves; the other just a very full soft skirt of either India silk or crepe, and this without the gold over tho sleeves. You see the two gowns would be of so different a character that no one would suspect your economy. Besides, remember how short a time, comparatively, tashions last, and how little after all you are able to show for the amount of money spent. Common wisdom dictates following the lashion with as little outlay as possible. Thus it Is wise now to take up the Empire, because in this field we can use up the materials of our out-of-fashion dresses. After the wear is had from those materials it will do to take up crinolines. We would by then have to get new stuff anyhow, and at least the crinoline style will give us glenty of goods, and, if we are wise and have learned not to be too proud

■we will be well equipped for remodeling iorthe next change. The last illustration shows another house dress of light gray bengallne, with corselet belt of satin ribbon, knotted behind and falling in long ends. There are deep cuffs and a sort of yoke of point d’lrlande guipure. The skirt has no train, but Is slightly longer at the back than at the front. The lace which fails over the front and back Is draped to cover nearly all the shoulder seam. Ihe corselet is made on whalebones; these bones occupy the place of the waist seams. For this purpose one is placed in the middle of the front, ono between the darts, and one on the under arm seam: the remainder of the sash being knotted at the back does hot require to be boned. The material for the sleeve is cut very full and gathered on to the lining, so that it stands up at the lop in two little horns. First, find the middle of the material, and the middle of the tight-fitting lining, and make a notch on eaoh. Then proceed to gather the material in the usual way, beginning about two inches tTom the bend of the arm, and stopping about two Inches from the notch in the material. Fasten the gathers on the lining, stopping an inch from the lining notch. Then recommence to gather two inches from the other side of the material notch, thus leaving four inches plain In the center of the material. Fix these gathers to the lining also, leaving an inch on this side of the lining not 3b plain. Then take the material which is loose at the top, and drawing it well ud from the sleeve, form the two little horns on the plain part of the lining, makiDg them stand out we 1 from the contour of the sleeve. This way of draping the sleeve is quite new and gives an air of originality to ihe dress. The military collar to which the lace is attached fastens on the shoulder. Copyright, lffcw. Astronomt.— Aristarchus of Samos and Hipparchus of Nieea, the former living in the third century B. C. and the latter in the second, laid the foundation of European astronomy.

BALL DRESS AND SHAWL BLOUSE.

KOVEL ZOUAVE EFFECT.

HANDSOME HOUSE DRESS.

ANOTHER INDOOR GOWN