Newspaper Page Text
What Well-Dressed Women Will Wear by
ANNE RlTTENHOUSE Modern Women May Look Like Saints or Daughters of King Lear IT IS not possible to divide the n?w gowns into strongly'differing sections. Xo de . igner has taken a period and copled her gowns from it with certainty and exactitude. All of the French and American workers have jumbled their history in a way that would give the seeker after truth a brainstorm. It is we'.l for the publie at large that the de . ieners do not stirk too closely to period clothes. When the decorators insist that one eannot have a curtain, a vase or a cushion in a room that is drawn from a eertain period, we get Itiful pieces of interior decorative work arhich should be in a museum. but which have little relationship to an intimate home life. It is w;?e for every woman to learn. and H would be well if one could only teach the ar tists and decorators the same thing, that ex hibition work is one thing. but the kind of work that one must live with is another. We can go to museums or department shops and see period rooms and period dress, but human nat nre resents the thought of having such limited environment in which to spend one's waking and sleeping hours. Therefore, we greet with pleasure the fact that vastly different periods Itory hava been dipped into for the new clothes; but anachronism is rife. Callot and the first Empire Silhouette The Callot gowns were the last to ret to thia country, ar.H they presented no new note, ex? cept the introduction of the First Empire sil tte. Even when Callot took the most sym bolic feature of this period, which is the high waistliM that slightly girdles the figure just under the bust, she added medijeval sleeves to it that the Kmpress Josephine never wore. The most dominant First Empire frock that lallot has sent over is of brilliant red that is r geranium, Japanese nor wine. She calls it "incendie." It has the richness of a ui the light and resemhles that jewel to the inexperienced eye more than the flames from a cor.flagration. This gown is not marred mming. As the French say. it coes with ? it a garn^h. The neck is not low in the way ? is npt to arrange it, and the sleeves not only cover the arms and wrists, hut the back of them hangs to the knee> when the arms ure droppe i. Josephine Waistline With Angel Sleevei When Calkfl features a new thing it is bound to be ligniflcant, and, therefore, when she puta a aiodifled angel sleeve ln the same gown with ? ttremc .losephine waistline, she is produc eaething that will be widely copied and .vorn hy women of the most ultra-fashionable conviel As for the rest of the Callot collection, the word that can describe it is Callot. The trousen are lacking ar.d the Oriental effect i BWgnifled, especially in one gown that seems to have been made on the impulse of the mo ti.ent in the .ame manner employed by thehero ine of Belasco's new play, "Polly With a I'ast." In this, the aetress catches up yards of orange colored velvet in an interior dec orator's renrn, winds it about her figure, and then presents herself as a good imitation of I fa. nnatinp: French lady who treads the prim rose path. (_ rowing Vogue of the Flowing Sleeve Prohablv the mediaeval 6leeve will receive more attention from American women than the First Empire waistline. This fact is increas ingly evident in tho exhibitions of American designed gowns, which have obviously taken ?he mediapval sleeve as the chief featureu An entire chapter of dress could be written concerning this sleeve. It has played a most his toric part in the evolution of fashion through? out the renturies. Like the comets of the solar r-y. tem, it comes in and out of the sun's glare at Interval and can never be counted as lost. Ametica arai quite well aware that some type cf long, flowing sleeve would reappear thi* autumn. It was foreshadowed by the VO* luminous tulle sleeves that reaehed to the wrist and htir.tr dowawaid in points. Every rable from Paril instated upon the preference shown by the 1 reach women for gowns that did not ' ?? arms, even though they were half lew Ht the neck. Faatastie gowns in this coun? try. designed for the footlighte, brought s cood n to themselves hy the im* ? ity of their sleeves, but these were usually .'?ned en some antique Chinese idea. for ? square outline was held in place by ( hi i c'f tiissels and jade braclets. Great-Granddaughtera Of King Lear ame the first Callot gown with the pval sleeve. The men who \sere i'. Pai early in the surnmer and who saiv the in tho renewal of such a sleeve got it OVei here before the actual Callot gowns arere uawrapped aml dtaplayed to the Amen ?n publie. lt i- Hut easy to dctine these sleeves by sim ply .-allinjr them media-val. To our American minds they are rcminis.ent of the Abbey draw iirgs. They might have been worn by the datiuhtcrs cf Kmg I.ear. And above all, their beauty catches the eye because cf the cathedral colors in which they are dyed. If you happened to see Yvette (.uilbert wind hcr.elf about with wonderful stained glass . ? !? r. in satin, chiffon and velvet when she ':er French MUgl and recitations in thii ccuntry last wiater, surely you wanted tc go <u.d get youreelf leeae house gowns in I warm to- . "fhe Chinese Paneis There i. another important feature n. tie . v fashions that no woman can fail to over * These are what are known in France as Callot puts the mark of her approval on the First Empire gown, and she follows the inspiration of Yvette Guilbert in offering colors and sil houette taken from the windows of destroy ed ca thedrals Jenny and Pre met give us flying panels and trousered skirts The mediaeval flowing sleeve is increasingly evident, even in connec? tion with the First Em? pire waistline ? French taste insists upon the straight line, but Ameri? can dressmakers are ex ploiting the pull - back skirt and bustle, which are distinctly American FROCK WITH BUSTLE lt it made of *al.i_ red taffeta, with collar, cuffi and ???h of white taffeta. The buttle ii aimply an affair of aoftly bunched drapery that tt rather tuggeative of panniera meeting at the back. The ikirt fall* in flinrt, cling ing linet. GIRL'S T0PC0AT OF VELVETEEN lt ie of deep roae color, with collar and cuffa of oponum. The huge pock eta are made to imitate thoae of a carpenter'a apron, and they ara trim? med with dull ailver but? tona. They are to be uted for packagei and knitting. BLOUSE OFFERED TO BUSY WOMEN lt il made of white butcher'a linen, with long ihoulder ?eam?. Cuffa, high atock and cravat are made of blue and white croaa-barred ailk. TUNIC COAT SUIT Apricot broadcloth and golden brown velvel. Muffler collar, <uff? and akirt are of velvet. Low waiitline i? marked by band of mink. flying panels. They are lupposedly sdopted from Chinese dress, They are plaeed on the skirt or 00 thfl bodice, and there are extreme gowni in which they iwing from the shoulders. Jenny uses them in a gown thal il fashioned after those worn by Chinese women. it hai an eddly shaped. trousered skirt of chiffon that is exceediotly tnodesi and graeeful. Over this fabric hang straight, flying panels in iride< cent taffeta that il weighted with gold aml crystal fringe. The waist li loosely girdled aboui by a Chinese sash, and the long, floating lleevei of chiffon and crystals are raught in at the wri?ts and are transparent. Jeaay, however. is not the only one who UOM panels in whatever way they can be ac eomnvMiated to the human figure. Doeuillet puts them on one-piece frocks and trathers them together at the waist under a girdle of some ornate, glowing fahric. Mme. Paquin makes an evening gown that ifl just two panels over a tijrht, sheathlike skirt, and the two are held in at the waistline by a brilliantly coiored sash that somewhat imitates ' the Ameriean bustle silhouette by resolving it -elf into a bow and end? at the side. I'remet, who has turned out such unusually pood gowns this year. assembles her Sying panels under a sash of Chinese or Japanese em broidery and arranpes it in a big looped bow at the side which looks something like a bustle that has slipped? an uncomfortabie and di. agreeable way that they had of doing in that 1880 period when women wore them in an uglier form than they are introduced to-day. Panels Need Not Match The Skirt it is not necessary to go to any trouble to have the panels match the tight skirt beneath in either color or materiai. l.anvin insists that the greater the difference between the two the better the style. She will use hydran?ea blue and black together or golden tan and deep purple. Even when these flying panels are not con verted into an entire gown there is a leading fa-hion which _ees to it that most of our frock* AFTERNOON FROCK Midnight blue aerge, with black tatin alervea and girdle. Taba of black ailk braid, with but? tona, trim bodice and akirt and outline the pannier pockets. Collar and veat of white tatin. look a. though they were iplH un the lides to ?;how the tightest skirt that we could walk in. Using Gold Mesh Bags We have learned to look to BulioT. t'or tome ,:iing extreme, eepecially since he haa become couturier to Mary Carden. Hi-* wonderful (Jriselda gown that she exploitod in Chieago when singing the opera of that name produced an epidemic of embroidered, medi_pv.il clothes, All New French Gowns Have Straight Lines AU. THF r.ew French jrown* insist upon the straijrht line. The only time it is broken is when a gOTgeottl bit of rih bon is taken and built into a laah with a huge bow at the left of the back. Ihe Ameriean dressmaker.-, however, flUpe* .ially those who deal in high-priced, ready* to-near costumes, have not goni in whole heartedly fer the itnight line * hat is. they han not eliminiited that overworked silhou? ette of last year, which showed the slaslieil hip drapery, which was called a pannier pocket, France sent oat this silhouette a little after i hristmas, and the Americans were in frrave doubt as to whether it would be avepfed by this continent. Its trouMe wafl that it was overaccepted. It became one of thr.se extraor dinarily popular faihkrni fron which there was seeminply no escape. But Ameri.-a, like France, has a fashion of lettinp an idea dic and then reviving it in a slijrht dejjree. This i.s what hjis been done with the pannier pocket frock. The rt-ason for it- a ai 1 continued acceptaiice i- it.- a,:: ? - ..??<? Fvery woman cannot wear the chemiae 'r.H'k. She needs some !:f? d* thl materil ' ? .. kind of drap?>r\ :.* r below the hip line. Her . h of flgttl ' roken snini-where between the flhi .1 er Jirr.i tlu- shoe top. It ia not possible tr .1.- thia abova the ?? det, .--ti she demands that it be done beluw The flat back ruled without any question until the uplifted drapery of the modified hustle appeared, and the flat front is considered an essentiai in all good gowns. This leaves the sides as the only part of the frock where the line can he broken Into an agreeable bit of drapery. The pannier poeket. which il nothing but a ;eep gash in the materiai, outlined with braid in ?ome attractive color, therefore appear* on new models ii, blue serge, heiue jersey cloth and dull red velveteen. By the way, each of these fabrics and colors has a host of followers this autumn. and the export believe* that the t'oundation of clothes ia buiit up on these three cornerstones. Tho idea of a corselet or cuira** of one materiai ani Meeve-s of another has gained such headway in the last few week* that women sometimes look like jockey | The de ligneri have even gone so far as to put red satin sleeve* into dark blue corselet.. and plaid sleeaes into black velveteen bodices. Even when the color schemes do not oppo*e each other, the fahric* are not identical. Satin is the bhief standby for these separate sleeves when the gown is to give service, and chiffon. silk net and Georgette are used when the gown is for formal afternoon occaslon*. or informal theatre partie* and restauram dinner*. The lonjr sleeve i? the thm-r. Pon't fail to rfitienibiT that. You need DOt bare your arm-= to the publie gare at any hour of the day or evening if you do not care to do ao. Return of High Collars?Some Fashion Whims Mt't If as you may regret it, there i* no getting around the fact that high collars are more in evidence now than a season ago, and it may be that they are actually going to supplant to some measure collsrlesi neck arrangements for street wear. Wherever w _? 11 dressed women are gathered i:i the morning or afternoon JTOU eannot fail to observe that there are numeroui stocks aml net collars, both as part of the accessories for trim luitl and Sl parl of ^treet and af'ernoon ffOCkS. Kven among lupposedly well dressed women there are always a good many who have not maatered the art of wearing collars and it is for that reason that some of us regret see? ing collars return. To have to -it t'nroutrh a mu-ical or lecture or play behind a net collar untidOy fa. tened. or a stock that ha- <ome what slipped tt.s moorings, or collar stiffener* that have beoome tangled in the hair or irrl tate the skin of the neck, is certainly not very pleaaaat, and there are ever so many women who mastered perfectly the art of adjusting the various sorts of low-collar neck fixing** who do eommit these blunders in the high variety. There are actually women otherwise fastid* lOttl who fa..ten collar* with plain pins! If you use any pins at all they should be small. simple clasp pins of the kind usually known as baby aiaa. But pii.r* tear the fabr.c of the collar and are not easy to adjust. Kor that reason it is far better to fit your high collara out with a goodly enrengement of small hooka and invisible eyes. nr with small loopi and the small pearl buttona that come especially for that purpo.-e and that are almo-t alwaya found on Preaeh hlou.-es at the eollar und CUit clo rtfr. However. if you wear your hair |ow ;i1 the neck it is almost j-ure to cat.h on theae wee buttons, and nothing is more untidy tban biti of hair caught on a eollar faetehing. Many women whoee wardrobes conaist tnaialy of eollarleM frock-. have auddenly beeOBM int.-re.-ted in the return of eollars. and they are the OTaM who venture forth with a net eollar and jabot or stock atop a low-necked dress or bodice, vainly inagiaiBg that no one MM tlie line of skin between the waist and the eollar. Truly this i-. a very poor ahift f<>r B4*Jtpiiring bigh-naek blouses. The best line t>f a high-neck wa.st i-' that of the neat juncture of the eollar with the fabrie of the blouse. Some of the striking: new tvaalng coats show very deep hoods at the back of the eollar. A French model in black satin shows jaunty little bewi of this materii'.l at the turned-back cuffs that terminate the elbow len*rth sleeves. Hand-painted nej^Iigee garateatl ;ire ihown this autumn in decidedly attractive model-. They are usually made of (Jeorcrettc- crepe or chiffon, and the deaipn is floral iu character, oftenest of wreaths or festoons around the edges. and when a dancer wore a blue .erge frock that was trimmed with padded pink satin roaea that fashion was widely taken up. Therefore, when Bulloz seem* to have gath* ered together all the gold meshbag*. ir. Paria and used them as ornament* for his leadlnj street frock. then the world pays strict atten* tion to what he is doing. Cherult and many of her colieague? hava n?t forsaken the apron gown. The little ac-esgory which resembles an apron, bu* is intended for ornament and not for service, appear* on a luflcient number of new frocks to proc'.aim itself still in fashion. In evening gOWM pven Callot has used it aa a iiackground for distinruished embroidery. It gives substantiality tO a fragmer.t of a skirt when it is rrr-.de of taffeta or satin. Bo_Mt__Mi it is embroidered with a N'apoleor.ic fleur-de-lti, and this period ef French history is further accentuated hy the trim and regular vine with its leave* that il part and parcel of early nine teenth century costumery. The Coquettish Apron Effect One gown which has this apron effect and which was suggested by the N'apoleor.ic . ra ia made in turquoise blue, gold and white glitter* ing in wonderful fabrics and metalir thread*. The apron of turquoise blue satin i* embroid? ered with the fieur-de-lis. and the belt is of wnie srold braid fastened with a N'apoleonie buckle and deep go'd fringe. The reporters of fashion need not nave ar* gued so violently about the incoming new col? lar and its acceptance by women if the] would be in fashion. for this feature of dress has been accepted without a murmur of pro'est. The passivity of the publie in this regard hai puzzled the dressmakers. They did not know that women would so_ easily give up their adored low neck. They expected a fight, and behold, they did not even have to submit an argument. Amerieans Irvsist on Pull-Back Skirts and Bustlea For the last six weeks the bustlo has been mentioned in a casual way by most of thoae who write fashions. Those who re.-d thi* eol? umn are aware of the fact that the bustle. was launched during the last days of summer; hut the fact that it has made such a genuine waa* satioti in the trade of women's apparel has not been dwelt upon to the extent it deserves. Remember that our designera, no matter how they depaft in trifles from French gown*. always accept the Paris verdict of the siihou ette of the year. We have been doing that for over a century. So has the rest of the civilixed world of women. There is no reaaon to cavil at what has been decided bl the ar** of clothes any more than finaneier* cavil a the rate of gold and silver. lt is establ ihfli It i-- accepted. And industry i* carried on oa that basis. Pan-* marki out the '.;ne of the lilhouette, and America an.i Eagland take liberties with it, provided they do nol ci.a-igeit. One Designer'i Daring Novelty This season. however, one dc-ig:.er toeh it into Iii" head to produce a lilhouatte that hid nothing in common wi'h any other silhouettl bed for the eeasoa 1917-'18. The narrow skirt which Parii hai adopted ?ir:ce last March was oxaggerated into one that was pulled upward and baekarafd until it became as tight a^ the wrappings of a mummy. Tha bustle was plaeed at the end of the spine. but it was a ptiahle. gracefu] bnstle, made ll soft materials in many loopings. Im the in! ? aith thoee who make rir ment-i for t'ne wholesale trade there wai un doubted latisfaction expressed in the fact tha*. there was K-mething tiew .in.t itartling te offer to the irade. and l iw of the men m ?he industry ef making elothei luaitdnad the i'U-tle attractive or artistie, they waive-l their own feelinga because il arm necessary f?r the trade to make money to keep iti aei hen going. Likely To Be A Modified Style The bustle, therefore, wai taken ^.p by the tmericans,who turn oul coel imes by theblt1 dreds, more than by the exduiive importM who de not lay much itresi upon the prodMt ot" rival concerni in their own place. A fi 'thenea .:>up drapery a. the end ef the -pine which Vffl call a bustle for v. ani ef I ?"? ' MUBO ' SVS lotlf. straight skirts that arc ? evei I ?,|tv, :?> the pull-badi 1871 Ifou maj remeedMl that in thal " ? '"?* SO, there was a vaehed to the bust ? ' th. pull-bark variety, History pn I r>'.**' itielf in that respect thii winter, i <v ressivel] narrew pull bacl ii too liffi ill ^>f the American woman, except ? - . ? n1, fOa n for 'i.e ??? .";mg. The hoste - goam, launched P - ; *om* tim<* a_.o a.;.) distinguished by the ?: ellstiei elie." has beeooM mch an ii tegral P*rt of the Amer n 4 raan'i wardn . tl I H rr*. r..w be bought ready-ma :?? V' iti nSflM W p!ie.. it is a dignified boudoir robe. and itiv**^ liignity makes ,1 itiitable for informa! wear ? the dr ling room. Thrs dignity ususlly c?n* ii ti in fabrics that do 111 often appear ls ?"' makeup of its more negligeo >i*ter. The autumn hats ihow much m"rc trimn_**f than the hati ef leveral leasoni psat and ts? sroman arhoee Angers itch to twiat hsl tria* uungs into shape is again in her eiement. f* the Last few year.- her ability a_ ai amst# milliner has not -tood her in very good steel* for our hats have depen.led for their chtfi* only on their line and flt.