Democratic Sentinel, Volume 17, Number 32, Rensselaer, Jasper County, 25 August 1893 — HINTS TO THE GIRLS. [ARTICLE+ILLUSTRATION]

HINTS TO THE GIRLS.

SHOULD USE CARE IN SELECTING DRESS GOODS. Chiffon on Fluttvry Bowl Are Pretty, end look Nice in * Breeie, but They Will Get Entangled by Scarf Pina and llelt Bneklea. Olrla and Their Gown*. New fork correspondence:

Every one should use judgment in selecting from the materials the mad whirl of fashion \ casts us. Chiffon, i for instance, needs J to be considered 7 twioe. It is very \ lovely to look at Jo, and very muoh the jjlQl vogue, but the * M ► chiffon girl is not at all convenient to hug. She catches on to everything. In these sordid days that is a good sort of a girl to be, but not m3[ in the wav meant here. Chiton once tangled in a soars-

pin is hopeless; either the chiffon gets away with the pin, the pin gets away with the chiffon, or they won’t either get away, and there Jyou are with ma in sight. Nets and laces are nearly as bad, Dut chiffon catches by a thread, and the thread pulls or crinkles the goods all the way up or down, which constitutes a special objection. Flutterv bows are pretty and look nice in a breeze, but the loops have an awful way of getting caught at the buckle of the masculine belt now worn so muoh. That is bad enough if the belt is on yourself. Bows catohing in this way to a belt not on yourself have been known to help along a proposal and do all sorts of nice things. That is all very well if you have bo planned it, but consider the time when the bow takes to working on its own plan, when ma catches you, or George goes off with so mfich of you in tow that there is talk right off. You should

think of these things when you get up your wardrobe. Ruffles on the shoulders are pretty and the rage, too; only don’t trim them with dangly things or beading. I have known a dangly thing to cateh right around George's ear and refuse to let go. No man likes to be led by the ear, so there was another affair that missed fire. The beading is very apt to print its pattern on your cheek under some circumstances, or on his cheek. A man can’t be expected to go around with a flat iron and clothes pins when he wants to hug a girl, nor does he like to have his cheek all dadoed either. These are hints, and it’s just as well for the girls to be careful.

A pretty model is that of the Initial. Its material is a light shade of mousseline de lalne, having: dark spots and garnished with faille in the same shade as the dots. The skirt is lined with silk, and trimmed about half way up with three bias folds of faille. The short, round waist hooks in the center, and the plastron of draped mousseline comes over and fastens beneath the bretelles. The back is the same as the front, but of course has no plastron. An exaulsite morning dress is the subject of the second sketch, and it is composed of yellow batiste crepe figurea with black and trimmed with black- lace and yellow ribbon. The skirt has three breadths and a draw string at the top. It is garnished with one flounce of lace and another of crepe with lace insertion, gathered to the skirt with a narrow head. The jacket is lined only in the waist, has a yoke of black lace alike in back and front and finished by a band of yellow ribbon forming bows on the shoulder and is confined at the waist by a ribbon belt. The fronts are gathered to the yoke, and the back is tight-fitting and

laid in a deop box pleat. The jacket hooks in the front, where it is garnished with a lace jabot; the same lace edging the yoke and crossing around the Dottom. The puffed sleeves have a lace frill. This is offered as a matronly mode, so, though freely lace-bodecked, its representation here is not flying in the face of the opening admonitions, those being intended to advise younger readers. The next toilet shown has a stylish display of shoulder width, which is nothing but display, for it really isn't there, and it is attained by covering the balloon sleeves with "baad work epaulettes. They are protty and quite modish, but the moral of the tale they'll tell has already been pointed

out in the opening paragraphs. The wearer pictured is of middle age and supposedly staid, but the girls need beware. For the rest of this costume, the skirt is very wide and is made of black silk. It is unlined and trimmed with a band of narrow black velvet ribbon forming a rosette at the side, as shown. The front* of the black velvet bodice overlap each other and the lining hooks in the center. The velvet is draped over the back, showing no seams and as little fullness at the waist as possible. Here is a way by whioh you can make as handsome a summer cloak as any one you have; it will not cost a great deal, and you oan slick to it that it came from Paris. A ruche of white

lace at the neck is sewed on a piece of white ribbon, the ends being left long enough to tie. From this ribbon falls white fish net to your feet as full as you oan sow it on. You may put throe or four rows of shirring if you like just below the ruche, so as to equalize the fall of the fullness. Put three rows or more of half-inch watered ribbon around the edge of the oloak just made. Remember that the garment must hang perfectly even, and that means infinite patience in trimming it around the foot. Measuring won’t do, because the shoulders take up so much, You must "try on” many times. But your cloak isn’t made; it’s just begun. A foundation of net is needed for a shoulder cape. More careful trying on and trimming, because this, too, must hang an even longth, front, back, and sides. The foundation is run on a yoke of chiffon, or is just full from the neck. It can be quite separate from the long cloak ana run on a piece of ribbon. This second little cajie should come to about the hips, and lie covored with ruffles of lace or chiffon. F.ach ruffle may be finished with a row of watered ribbon, or it will be pretty enough plain. If there is a yoke (and if your neck is short there had better be a yoke), the ruffles stop at the one that outlines the yoke, and that one is very big over tho shoulders. If there is no yoke the ruffles go round and round to the one at the neck. The short cloak is worn with the long one. The two look, thus, like one garment, and in white or black the effect is pronouncedly modish. Perhaps bluck is the better taste, with a great black lace hat and Slumes or a wilderness of lace. A little me, a lot of patience and lots of chiffon and net are alt you need to accomplish this “Paris” affair. The simple and jaunty affair of the fourth lllustratlea is o>mposed of two capes and Is about fifteen inches in length. The lcmger cape is in modecolored cloth in two parts, each having a pointed end whicn crosses over in front and fastens behind, after the style of a serpentine waist. Over, those is the second shorter cape of Russian-

green cloth, edged with tinsel passementerie. The collar is a piece of the green cloth pleated. The most noticeable feature of the last example sketched is its very dressy jacket front. It is made of heavy corded crepe, and the skirt is lined with lavender silk and trimmed with four bias folds of black velvet iu different widths as shown. The inside of the skirt is finished with a pinked ruffle of lavender silk. The tight-fit-ting bodice has an imerted plastron in the back and jacket fronts over tight fronts of the same silk. The front has also a plastron of puffed yellow crops de chine. Attached to the tight-fitting fronts are wide revers of black velvet, finished with lace epaulettes. A narrow velvet belt and standing collar are of velvet, and the jacket fronts are faced with yellow silk. The sleeves are trimmed with lace at the wrists. Copyright, 1883.

MORNING WEAR IN YELLOW AND BLACK.

FASHIONABLE DECEPTION.

A DOUBLE CAPS IN THREE PARTS.

PLAIN SKIRT AND ELABORATE BODICE.