Democratic Sentinel, Volume 19, Number 26, Rensselaer, Jasper County, 5 July 1895 — FANCIES OF FASHION. [ARTICLE+ILLUSTRATION]

FANCIES OF FASHION.

GREAT VARIETY IN THE STYLES FOR THIS SEASON. Violets, So Profusely Worn by Fashionable Women, Are Going Oat of Btyle—Round Waist Endins Under s Belt Is Popular—Notes. Midsummer Modes. Kew York correspondence:

in the Bf T close that 'w / have been so abuuJ&r/ dant are going out vJHI of style, and it is Y WJ) about time, Tor fashionable women have now for several months been too < thickly covered them. Wee IV— tight bunches of other small blos- £ \ \nsoms are also los\sVln® favor, and pr nil n such bloom is

employed it is arranged aigrette fashion on long stems, the flowers spreading loosely apart and the stems bound closely together at the foot. For this purpose violets come with stems wired with a sort of horsehair, which allows the pretty blossoms to bend and sway naturally. Little primroses are arranged in the same way, and forget-me-nots stiffened crisply are also pretty. Roses are fastened in knots of three and four, the stems tied half way up with soft ribbon. This gives something of a sheaf of wheat effect, but it Is the required “something new.” Aigrette effects of many kinds are often seen on new hats, but they are ordinarily so placed as not to be a conspicuous portion of the trimming. For example, turn to the first picture; here there are no less than three tiny black aigrettes atop the double brimmed hat, but they are surrounded, almost to their topmost points, by big bows of white ribbon that easily dominate the whole. Quite the daintiest new notion

in ribbons is the dresden printed gauze sort and more expensive ribbons are besprinkled with embroidered rose buds. Ribbon comes with wired edge, the wire being silver or gold run in and out through a mesh in the weave. The making of milliner’s bows is an easy matter with such ribbon, and the wire isn’t slipping out all the time or poking through. The gown beneath this hat in the picture is unusual chiefly because of the embroidery on its bodice, which is done in pale tints of silk, tyut, though the shades are very the combination of them presents an appearance of considerable brilliance. Its effect is heightened by slashes at top and bottom that show a yoke and girdle of black satin, the main bodice material being white satin. The cuffs are trimmed with embroidered satin points and the epaulettes are of white embroidered satin edged with black. With all this elaborateness a perfectly plain godet skirt of white taffeta Is worn. For wash dresses embroidery is much used, of a very different sort from that just mentioned, of course, Swiss, nainsook and cambric being the most available ones. A great deal of openwork and edging is shown in linen colored lawn, the stitching being in white, and this makes dainty trimming for linen colored embroidery, a delicate shade of silk showing beneath. Zephyr ginghams in silk-like plaids are inexpensive, but the dressmaker matches the plaid and makes the gown over silk, so any woman can wear it and not feel hurt because the material was “less than nothing” a yard. Of all the summer dresses that show a draping of filmy stuff ovet a bright under fabric, there Is none prettier than

the one the artist presents in his next contribution. Taffeta beneath and figured mousseline de soie outside are employed in it, the latter being slightly gathered all around and garnished with ribbon drawn through buttonholed slashes. The fitted bodice is draped with deep gathers at the waist and neck, and has imitated Bolero fronts of the same ribbon that pierces the slashes. The sleeves may be lined or not, as preferred, and there is a wide choice of colors, those chosen for this model being apple green figured with darker green, for the muslin, black for the silk, and black for the ribbon. Though jewelry is little worn this summer, an exception must be noted In the case of which are demanded in

such numbers that It takes dozens or pairs to take a girl through. Plain small round gold ones are the best, and the silver sets are all right for ordinary use. The latest shirt waists show tha cuffs fastened by three of these little studs, instead of by one pair of links. The result Is a much better set and safety from the gap at the top of the cuff. Akin to this fad for studs is the fancy for dresses that are ornamented with round gold buttons, one of which Is shown In the next Illustration. Here the godet skirt is slashed four times and then buttoned together, and two rows of the buttons with imitated buttonholes appear on the bodice’s boxpleat. On each side of the box-pleat rows of guipure insertion appear and

the sleeve caps have the same trimming. A deep black satin girdle Is added. Linen color remains the popular shade for summer gowns. It is seen in the most expensive tissues and in the simplest coarse weaves, and in no case does it miss a certain distinction. Some wise girl has discovered that dish toweling of the heaviest kind Is so nearly the same as Russian linen, except that it costs less, that she is having three dresses to one of her less clever sisters. White duck for collars, cuffs and belt makes a delightfully fresh finish for dull tan gowns. In unbleached linens dressmakers seem to use quite as much care and quite as carefully stylish cuts, as in the most expensive fabrics they handle. Proof of this comes in the fourth pictured gown, which Is of unbleached linen, its plain skirt laid la just as precise pleats as if It were worth several dollars a yai’d, and the full sleeves and baggy front as distinctly fashionable as they can be. Topping all is a standing collar, with rosette finish, of black velvet, and embroidered linen bands are placed as Indicated, and appear at the back only at the armholes. The loose blouse front not only holds its popularity, but improves with age; that is, it is becoming more and more apparent that there is an important difference between a loose blouse that is carelessly made nnd one planned for the figure that wears it. This fact, of course, existed from the first, but this style was so serviceable for making over old bodices that there was an early rush of made-over blouses, most of them from the hands of amateurs, and not till now have really artistic methods won recognition. Women now realize

that the looseness should, with all its apparent informality, be in precise folds planned according to the lines of the figure. If this is done, then it may be said that no style of bodice is more universally becoming. Indeed, a clever dressmaker can make the most awkward figure graceful in front, at least, with this arrangement. Though basques are shown with skirts attached, the round waist ending under a belt is more popular and suits the average figure better than might be expected, chiefly because- the flare of the skirt softens the outlines below the waist. Ripple jackets are still worn, and are often included in jaunty outing suits of the type displayed in the final sketch. Here the throat is exposed, as it was promised it would be generally this summer, and the wide revers extend into a deep sailor collar. Beneath it a loose front of the dress goods Is striped with braid and finished by a turn down collar of white batiste, with tiny revers. The skirt is also braided, worsted braid being used, and glace mohair being the dress goods. White duck fronts are shown with wing-like revers attached, to be adjusted with jackets like that just described, the revers lying out over the turned back collar of the jacket, giving the effect of a very swell and especially planned gown. White duck belts slip easily from their buckles and may be washed. The buckles are of nickel finish, and the whole effect is very good. Careful dressers are avoiding the ornate and elaborate silver buckles, and motber-o’-pearl and ivory are employed as substitutes. Quaint examples of the latter, carved deeply, suggest to the fastidious girl who dislikes cheap* and popular things a way to spend mopey and get something unique at the same time. Copyright. 1805. A pretty Dutch bonnet Is made of green velvet and jet wing, with a cluster of black and green chrysanthemums on the back.

TAFFETA DRAPED WITH SILK MUSLIN.

MOHAIR AND GUIPURE INSERTION.

UNBLEACHED LINEN AND LINEN EMBROIDERY.

GLACE MOHAIR, BAPTISTE AND BRAID.