Democratic Sentinel, Volume 19, Number 14, Rensselaer, Jasper County, 12 April 1895 — LOW NECKS IN FA VOR [ARTICLE+ILLUSTRATION]

LOW NECKS IN FA VOR

COSTUMES THAT SHOW THE SHOULDERS MUCH WORN. Deplored by So-Called Reformers, but Swagger Folk Will Not Discard Them —Should Be a Law Against Scrawny Women Baring Their Necks. Fashion’s Foibles. New York Correspondence:

x* J UCII as low-necked JB dresses are deplorIf 1 ed by so-called reW formers, they are •■gap a great deal by swagger folk, f-= n and many a beautlful device for enhanclug a gown's X> beauty had its first use on a low-cut i'" costume. The attacks upon this -K/I. fashion seem to Vv'Mn i* have little effect its supporters, who are as

many as ever. Indeed, many elderly women now year low-necked dresses, and there is good reason for extending the fashion to them, if they want to adopt it, for women of gray hairs frequently have very pretty necks. If they are not too plump, an evening gown that is cut low is all right. But in this connection it may be stated with reason that there ought to be a law against any woman's baring her neck if she is not pretty enough to have excuse for so doing. Many of the new forms of low-neck expose the round of the shoulder, the decolletage being straight across the bust, instead of round or square. The change benefits both the full and the thin figures, but the possessor of the former is much inclined these days towards gowns that cover the shoulders. A very handsome example of this cut is that in the initial picture. Its materials are dotted yellow watered silk and ruby velvet. The bodice hooks in front, but the wide pointed plastron hooks over. Caught In the side seams are loose narrow jacket fronts trimmed with yellow lace and ruby bows. The basque is slightly longer in back than in front, and is draped in the center of the back by means of a deep pleat. The left jacket front Is wider than the right, as it almost

reaches the center of the top, and is there cut away bias toward the bottom in triangular shape. The straps over the shoulder are made of folded velvet, ami the full velvet puff sleeves are topped by lace bretelles that reach to the edges of the jacket and form -t round collar in back. Heavy silk lines the gored skirt, and its garniture consists of two bands of bits folded velvet caught with velvet bows. In the second picture there is sketched another low cut dress that has the shoulders hidden, and it is altogether a very dainty creation. Cut from cream-colored faille, it is garnished with ecru embroidery, ecru and cream mousseline de sole and dark red ribbon. Then jack roses with foliage form bretelles that finish with red satin bows. The bell skirt is quite plain, and the bodice comes inside. Its vest is from shirred and plaited mousseline, and it is cut square at the neck in front but round in back. The sleeves consist of a series of mousseline de sole puffs and embroidered epaulettes. To the uninitiated the thought of a gown cut to leave the shoulder uncovered is a shock, but after comparing the one displayed in the next sketch with the two that have preceded it, it will be seen that appearances favor the former. This is a youthful get-up, made from pale blue silk crepon, with a widegored skirt trimmed by a full flounce of the same goods. It is headed by a crepon ruching which turns upward at the left side, where a large blue satin bow is placed. The blouse waist has fitted blue silk lining, and its cut-out is bordered w’ith a crepon ruching and a spray of wild roses is placed at the left with a bow. The sleeves are mere-

ly pleated epaulettes fastened to a fitted cap. With the sleeves of reception and theater dresses, the case Is quite different, an'd they are made so large that even a cape threatens their beauty. The theater wrap, therefore, is a cape that is split Into a series of panels. One panel rests lightly on each sleeve, one hanp ', ta the middle of the back, and the front is in two, to admit of the fastening. Of course, there is little warmth about this thing, but the sleeves must be Wg, so what’s to be <done?

When it comes to theater hats wonderful things are worn. The Dutch bonnet and its modifications are the popular idea at present. Almost anything that is flat and very, very queer-look-ing may be called a Dutch bonnet As. for instance, you may put on a very wide fillet band of steel, which shall reach over the top of the head to the tips of the ears. From Its back edge a skull cap piece of lace or silk extends. At the sides of the skull cap wing-like bows are arranged, and at any unexpected place a couple of steel mercuries may rise. That is all, and it will be quite the thing. If you look very queer in it, don’t be discouraged, but make up your mind, rather, that you have succeeded beautifully. Again, a top of open-work wire, studded in Rhinestones, is set on a band of silk, a couple of roses depeud on either side, and a flare of sunburst of Rhinestones stands up in front. What is that?. Why, a reception bonnet, and just the right sort of one, too, according to the current code. Bluet and cerise are now enjoying great favor and are especially effective in trimmings. The latter Is almost too brilliant to be used for whole garments, though occasional examples of it awake the echoes. With bluet it is dis-

ferent, because its tone is so much more gentle and entire costumes of it are In excellent taste. A handsome satin dress of this shade is portrayed in the fourth Illustration. It is simply made and trimmed, guipure insertion being used as garniture. The bodice fastens on the side and is alike in back and front, being ornamented with three bands of the lace. The folded belt and collar to match are of black velvet, and the full sleeves are topped by fancy epaulettes banded with insertion. Haircloth stiffens the gored skirt throughout, and the front shows three lengthwise bands of lace matching that on the bodice. Among the new cloths that are bidding for popularity are several that are woven like silky wool, with a furry surface, the general effect being that of cotton flannel. But they’re not cotton flannel, but some of the latest cloths and particularly handsome In greens and browns. They are well adapted to street gowns of the more elaborate type, a beauty being of green, bordered with sable and heavily enriched with yellow lace. In the gown from one of these stuffs that is displayed in the final cut, the trimming is not so costly, though it is expensive enough to show that these new rough materials are keeping good company. Its full skirt is laid in godet pleats and bordered around the bottom with a band of olivegreen mirror velvet, three-looped ornaments of the velvet appearing at intervals. Two very narrow panels appear

on the front and are ornamented at the top with cream guipure. The bodice is fitted and fastens on the side, the darts being covered with narrow velvet folds. A white moire collar and chemisette ornament the front, which is further adorned with velvet and buttons, as indicated. The very latest skirt is cut in godets all around and there Is no difference of fullness front and back. Like olives, it is an acquired taste, but it is calculated to display to advantage the magnificence of material, while it does not follow or suggest the lines of the figure. It has the additional distinction of being a product of this century. Almost all fashions are mere revivals; not sc this skirt, which never was before. It should fit closely about the waist, the godets forming at the hip line. These start small and swell and widen into veritable billows at the foot, from eight to ten godets serving to fill the entire round. There are two methods of managing the godet skirt. One lines it throughout with stiff crinoline or even haircloth, which keeps the godets in shape, no matter what changes the wearer makes in position. The effect is artificial and stiff, but whatever beauty there may be in the folds is not Interfered with. The other method leaves the skirt without any lining but soft silk, and the godets turn and twist with every movement. The effect is odd enough, and more graceful than is the other, but only a very slim person can risk either, for both rob the figure of height. Copyright, 1894. Th 7 , twinkling of the stars forebodes bad weather, because it shows that -th re are aeria currents of different tom 1 eratures, thus probably indicating atmospheric disturbances. The pyramid! were begun about 4.000 years ago. An oyster may carry as many as two million eggs. | '

THE SQUARE CUT-OUT.

THE OFF-SHOULDER CUT.

ALL IN BLUET.

THIS SKIRT AN ACQUIRED TASTE.