Democratic Sentinel, Volume 17, Number 35, Rensselaer, Jasper County, 15 September 1893 — WHAT WOMEN WEAR. [ARTICLE+ILLUSTRATION]

WHAT WOMEN WEAR.

STYLES FOR THOSE WHO WANT TO LOOK PRETTY. Foil Skirts Should Be Faced Cp with 811 k of Contrasting Color—Praises tor House and Lawn—A Coiffure to Offset Slenderness. Fashions for Early Fall. New York correspondence:

a KIRTS are made F so full all of a audit mb* en 4110 ver y fetvly hem that the edge MLyatj flutes up and down mgwEand the prettiest * effect iu the world .SR!? is secured by a ee P facte# of silk h.SSiS'- in a color cootrastrSSET ing to that of the |M skirt itself. A skirt of a dull 135V14 brown is thus \ * faced with soft old tftM? rose, and worn with an old rose shirt waist. Or,

more brave in effect, the shirt waist may be soft blue and the glint of rose at the foot of the gown may be like the flowers that bloom in the spring, and have nothing to do particularly with any other color effect. An elegant example of fashionable flare, attained both at skirt hem and shoulders, is that portrayed in the initial picture. This costume is made of green faille and has the skirt in two parts, lined throughout with silk. The lining of the waist is tight, over which the silk is draped and folded as shown. The yoke-like top is outlined with ecru lace insertion, back and front being alike. The bretelles end in a point in front and are edged with lace that crosses in front The standing collar is of ecru lace, and the puffed sleeves are garnished with laoe insertion. A jet girdle ornamented with three rows of large jet buttons is worn. Panlers are in the air. The bretelles and ruffles have overflowed at the shoulders and appear on the hips, and if woman was an impressive object before, with her great sleeves and shoulder fluffs, what will she be when epau-

lettes appear on the hips! Little tabs are made on several elegant gowns shown, at the hips, like epaulettes. These are edged with or even quite covered with little ruffles. The gown most bravely carrying out this iadh is a black, dull silk. (Trust the dress designers for venturing a new idea first in black.) The skirt widens toward the bottom and is short. The sleeves are very large at the shoulders and close cuffs extending to above the elbow. A sort of fichu of black tulle is worn with the gown. It has elaborate epaulettes covered with crisp ruffles of the tulle. Ends folded flat cross over the breast and pass to the back, where they are tied and hang long. At the hips the flat ends are furnished with another pair of epaulettes; these dip over the hips and are a crisp fluff of little tulle ruffles. The edge of the skirt has a deep ruche of tulle. The gown is pretty and significant because it suggests a new departure. Paniers mean fearfully small waists, short skirts, and half sleeves. If paniers come, they will rapidly attract all the elaboration from the shoulders, which is one oomfort. At present we are in the days of shoulder elaboration, and another model of that sort is presented in picture No. 2. It is a princess dress in silvergray alpaca, trimmed with black, dark-gray or dark-green silk braid. The skirt must measure three and a half yards, and is lined separately with thin silk and stiffened slightly. It is ornamented with braid as shown, the same arrangement on a smaller scale being repeated at the waist. The fichu oollar is loose and is made of a bias strip laid in narrow pleats and hooking along the side seam under the arm. The opening at the neck is filled in with chiffon or lace. Altogether it is a stylish and handsome dress for the Sromenade or for calls. A very pretty inner dress is next shown. Its skirt is composed of a gored foundation skirt trimmed with two deep flounces, each flounce cut in round points at the bottom and made of alternate rows of lace

insertion and crepe, and edged with a lace frill around the bottom. The bodice is also made of lace and silk bands, and has a round yoke of the same, finished with a heavy frill of laoe forming epaulettes on the shoulders. Falling over the top of the sleeves is a second lace ruffle. The stripes of the waist must meet those of the skirt, thus giving the dress the appearanoe of being cut princess. House g'owns. so called, are all in one. They are made of China silk in various shades, preferably white and black. The bodice is on the blouse pattern, is a wonder of insertion and

tucks and is lined throughout with silk; like itself. At the waist a sash runs drawing-string fashion through a wide belt. The opening of the skirt is in front, and the sash ties in a big soft bow in front The skirt is insertion up to the knee, and there is an underskirt of black, or whatever shade the house gown is. The sleeves are wonders of fullness, drawn into a deep cuff.. The secret of the wonderful hang of the fullness seems to be that the cuff is deeper on the inside than on the outside of the arm, reaching in a point somewhat above the bend of the arm, while at the elbow the cuff is—to be paradoxical—below the elbow. The cuff is insertion and tucks. This garment carried out in black or white is charming, while in rose pink with all the under lining rainbow silk, rose, yellow and white, was not so pretty after all At the right, in #the fourth sketch, there is a costume made of pale green

gingham and trimmed with black laoe. Its bell skirt isunllnedand garnished at the hem with a seven-inch flounce of lace, with two bands of insertion. The waist’s yoke is alike back and front and is ornamented with insertion. The sleeves have an elastic at the bottom, enabling the wearer to lengthen or shorten them at will. The seated figure In the same picture displays a toilet in mode colored beige. Its skirt is three and a half yards wide, satin lined, and is trimmed with double bias folds of the same material, attached to the skirt by the upper edge. The bodice has vest fronts of white or pink pique, hooking in the center and ornamented with two rows of tiny gold buttons. They turn back at the neck and form narrow revere. The jacket fronts also form revere that continue over the shoulders and around the back in the shape of a sailor collar. Detail of insertion, tiny tucks and frills will, with the coming of cold weather, “strike in.” All summer it has constituted the favorite elaboration of gowns, now it will make lingerie dreams for any one who gets a look at them, and nightmares for the laundress. Hand sewing is demanded for all this sort of thing, and the wages of the French maid are rising. We begin to realize how deficient the present generation is in needle-work expertness. Those competent to turn out such work are doing a rushing business. The charges are far from small and the) work is done slowly, but what does Miladi care for either of those coni siderations. She says that machine stitches hurt her now. and she cannot rest well in any but a hand-made gown. Before you express yourself too vigorously against the threatened chignon consider a few of its features. Thera are two motives admissible in the dressing of hair; one, and per hops the most artistic, is that which considers the hair as an adjunct to the face, figure and head, and which suggests an arrangement in harmony with these features and calculated to emphasize their good points. This view of things requires the sacrifice of the hair la its

own intrinsic value as a thing of beauty. Masses of hair too great to permit of arrangement, whose graces may be subordinated to the beauty of the head or face, are cut down to more easily adjusted proportions. The hair about the face and ears is cut with reference to the lines of the face and neck. All this is well. The other motive admissible in hair-dressing is a display of the hair itself, of its generous quantity, its color and quality. This the chignon effect accomplishes. Proportions of face and neck are sacrificed to an exposition of shining rolls of sleek tresses, Smooth braids and puffs attest that the shears have never interferred with gracious growth. An entire covering of the back of the head, and great depth through, from the head line to the circumference of the coiffure attests luxurious quantities of tress. A plain face may thus call attention away from itself, by focussing the eve upon the persistently exploited hair. A really beautiful faoe can, of course, stand the trying effect of inharmonious arrangement of coiffure, while extreme delicacy of figure, as in the girl sketched to illustrate this defense of chignon, finds a sort of foil and relief in a suggestion of splendid luxuriance in the masses of coiled strands. But the style most decidedly is not for everyone. Copyright, 1833.

TRIMMED ALIKE AT WAIST AND SKIRT HEM.

ALMOST PATCHWORK.

TWO DRESSES FOR HOUSE OR LAWN.

A COIFFURE TO OFFSET SLENDERNESS