8227 - Ladies' Bolero Waist (left) - One of the latest designs for a fancy waist is pictured at the top of the page in tan eolienne, combined with Renaissance all-over lace, and a plain girdle of tan peau de soie is a pleasing adjunct. A close-fitting lining serves as a foundation for the blouse, the back of which may be eased slightly if the sagging effect is unbecoming, and a front closing is employed. The bolero hangs free all around, or the fronts may be used alone. A pretty effect is given by turning back the fronts to give the effect of revers, although the pattern makes allowance for cutting them off and also for omitting the straps and fancy collar. A girdle and standing collar are worn. Two-seam sleeve-linings support full puffs, and are faced to form deep cuffs or cut off for long elbow length, flaring cuffs, turned up or down, as individual fancy may dictate, being added. This is known as the Monte Carlo waist.
Silk Batiste, chiffon, mousseline, crepe de Chine or Liberty satin are suggested, for the blouse, and peau de soie, veiling, fine broadcloth, cashmere, chiffon or panne velvet may be employed for the bolero, sleeves and girdle.
8234 - Ladies' Seven-Gored Skirt (left) - Some of the prettiest of the season's skirts are made with tuck-plaits, and a smart design of seven-gored shaping is here illustrated in dark-green serge. Short round and instep lengths are provided for, as well as round length, the entire lower edge in the medium sizes attaining a measurement of about five yards. Tuck-plaits arranged to give a wide kilt effect may have the stitching terminate at yoke or flounce depth, with corresponding stitching along the creased edges if desired. A yoke in fancy outline is a desirable feature, but its use is optional.
Wood-brown broadcloth will make up attractively for wear with a coat of the same material. Zibeline, cheviot, tweed, voile and cashmere may be used, and washable materials will also prove satisfactory.
8223 - Ladies' Blouse Waist (right) - A fancy waist of decidedly unique design is shown directly opposite in developments of figured silk and in pale-tan eolienne, with lace and velvet for relief. The back closing gives a youthful air to the mode, and the over-blouse is a pleasing feature. The latter is designed for any of three depths, and is supported by two straps at each side passing over the shoulders in suspender style, and giving it the name of the suspender bodice. A body lining serves as a foundation for the under-blouse, which is plain save for gathers at the waist and is made high in the neck with a standing collar, or cut out for pointed outline. A belt finishes the waist stylishly. CLose linings support the full puffs of the sleeves, with or without self frills, and are faced to form deep cuffs or cut off for three-quarter length.
A waist is suggested in tea-colored crepe Olga, with an under-blouse of tucked chiffon of the same shade, and suspender straps of velvet a shade darker.
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