Evening star. [volume], July 15, 1949, Page B-5, Image 26

About Evening star. [volume] (Washington, D.C.) 1854-1972

Image provided by: Library of Congress, Washington, DC

                
Left: The dress and jack
et combination is expressed
by Omar Kiam of Ben Reig
in a one-piece dress with a
black and white check tweed
skirt and black velvet bod
ice, topped by a double
breasted black and white
check tweed jacket with
black velvet lapels. Next to
it, Nettie Rosenstein's opal
ine slipper satin evening
dress, its off-the-shoulder
neckline banded in mink.
A wide flare on the back
skirt forms a small train.
The "separate" look, but
interpreted in a one-piece
cocktail costume by Herbert
Sondheim, is pictured next.
The collar is intricately
beaded and tiny self buttons
fasten to the waist. Right:
A diagonally buttoned coat
dress in a gray sheer wool.
Adele Simpson softens the
neckline with a bow and the
dress also features a side
skirt pocket.
New York Fashions for Fall Quiet, Restrained
By Elenl
Fashion Editor.
NEW YORK, N. Y.—In this
transitional period of fashion, we
are finding that a great many de
aigners who formerly have been
leaders in American design, either
are not using the skill that has
been at their disposal, or are lag
ging behind “simply waiting” to
see what will be next.
We know that fashion headlines
need not necessarily come out
every six months. We’re grateful
for this. The sensational is not
what the consumer wants. We
are relieved to see quite a bit of
emphasis being placed on good
clothes with simpler silhouettes,
and an attempt on the part of
many of the manufacturers to
supply the American woman with
the type of clothes she needs for
her everyday life.
We do deplore the sloppiness of
design, and the misuse of many
fine fabrics—the finest seen since
the war—and most of all the pay
ment of high prices for clothes
that are mediocre regardless of
whether or not they carry a lead
ing designer’s name. You don’t
turn a dress inside out and walk
around in it so that people can ap
preciate the label. It’s the outside
appearance that either presents
your fashion case or loses it. Me
dium-priced lines are doing a
whale of a good job in supplying
the American woman with clothes
•that are wearable, in good taste,
and fashioned of good fabrics.
Many a bigger name in the gar
ment industry would do well to
get wise to this fact. ‘NufI said. We
may paint a drab picture but some
of the clothes we’ve seen this week
don’t even deserve that adjective.
Judging from the great use of
fur accents on a number of the
coats and suits for this fall, we’re
Inclined to think that a number
of the designers have frustrated
fur-designing tendencies. . . . The
BEN REIG collection designed by
OMAR KIAM has a number of
moleskin stoles, ascots and jackets
included in it. In fact, something
completely new in the fur picture
was shown to the visiting press
in a strawberry red Scotch mole
fitted and full-skirted coat with
a diagonal closing. Another mole
creation, a jacket that was dou
ble-breasted served to introduce a
new shade, “antique amber.”
Coats account for a lot of fash
ion chirping this season. Fitted
chinchilla coats, swagger fleeces, i
and dinner coats of black velvet
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further elaborateed upon with dia
mond (not real) buttons. The vel
vet coats look “veddy, veddy” rich
over short chiffon dresses. Kiam’s
antique amber softly flaring dress
with a matching velvet top and
belt is a dinner dress to look for
this fall. The floor length (a
change from the great use of the
short evening dress fashioned with
the same details as their longer
sisters) gown has been indorsed
by this house famous for their
magnificent evening wear. Not in
this formal group, but never-the
less the hit of the show, we
thought, was a long sleeved, closed
up in front, low in back, full
skirted shorter evening dress of
black chenille embroidered net.
Tiny band after band of the em
broidered net formed one of the
most unusual fabric patterns we’ve
seen to date. Look to Kiam for
treasure chest fabrics such as
Spanish mantilla laces, pastel col
ored Alencon laces, white gold
shot French silk brocades, and
chiffons. They give truth to the|
saying prevalent this week that
“fabrics will tell the story this
fall. . .
ADELE SIMPSON continues on
her merry way in designing a fall
collection that can only be de
scribed as one of the few that has
understood that a costume should
have a specific purpose. Silhou
ettes should make sense, not fun,
out of a woman’s figure. And de
signing generalities such as a pouf
here where it does no good, and
a pouf there where it can never
i succeed, should be completely
tossed out of the window. Mrs.;
Simpson designs a collection with
this belief very apparent; that
town suits minus bulk and bulges
should be designed so that they
may be worn under coats. The
functional two-piece dress and
jacket need not be confined to
active day wear alone. She does
the “stay-to-dinner” idea of fllmy
topped dresses with brief jackets
very well. With more males
“dressing up” for evening, women
will be particularly interested in
her “black tie” dresses that are
not too formal or informal but
done in the Simpsonian manner,
giving them true elegance when
fashioned of exquisite silk taffe
tas, silk satins, brocades and vel
vet. A new neckline, the stole
neckline, is very smart. . . .
NETTIE ROSENSTEIN’S show
stopper is a black crepe gown in
a Venetian design banded in
mink. In fact, her evening gown
group is somewhat of a joy to
report. For she has done some
very exciting things with swag
drapery, decollette necklines, and
used really gorgeous fabrics. Sev-;
eral of her famous daytime "little
blacks” look interesting enough
with their fringed effect looped
overlays. Italy, a great source of
inspiration for many designers
this year apparently has caught
Nettie Rosenstein's fancy. For
she has St. Francis and Dante
coats. The first cut like a slen
der monk’s robe (she does it up
in bright Florentine red) with a
flat pyramid-shaped back panel
hanging from the shoulder to the |
hem. The other Is a full hooded
coat bordered down the front and j
around the head < and this is hard'
to take, we know* with a double
band of mink. Her suits have
long, gently fitted jackets. Sev-:
eral have double collars and
revers. Her figurehead drapery of
last year is evident in several de
signs whose folds are pulled back
ward. We can’t say we cared for,
the number of big fat bows stick- j
ing on the backs of a number of
her clothes. Too jeune fille for
Rosenstein! . . .
The HERBERT SONDHEIM
collections are always delights! For
one thing they make a lot of fash
ion sense. For another thing they
are priced not in the sky-high
bracket. And for another thing
there’s always news in a Sondheim
collection. This Fall he shows a
beige yam dyed jersey middy dress
with a long torso top combined
with an occordion pleated skirt
and an alligator belt that we know
will make all the fashion maga
zines. In the realm of jersey, once
again, he designs a love of a
cocktail dress composed of taupe
wool lace, long dolman sleeved
blouse, with a matching wool jer
sey unpressed pleated skirt. He
introduces a fabric of Forstmann
yam dyed Charmeen that may
take the place of gabardine. This
was formerly only used in men’s
clothing. Still another bit of fash
ion fabric news is Barathea, a silk
tie fabric with a pique weave that
for the past 80 to 100 years has
only been used in the making of
men’s ties. His fashions are either
casual or dressy. The cocktail or
theater suit of velvet is done at
this house in a slender and trim
manner. Most wonderful to be
hold! Suit jackets are in many in
stances fingertip. They have slot
seaming, folded stand-out collars
and interesting hipline pockets.
Straight or flare-back skirts tell a
little about the Sondheim skirts.
We think you’ll agree that there’s
a lot of value to be found in his
clothes. . . .
A MANGONE collection,
PHILIP that is, is always a treat
in addition to being significant.
He's credited with launching the
coat dress, the cape suit, and
the full-length cape dress. Par
ticularly striking is the Mangone
touch seen on three-piece cape
suits that are liable to take you
back to the period of the 1920s.
Much significance is being at
tached to collarlines this fall.
Mangone likes large shawl or
notched collars edged with braid
and faced with velvet. Pur, fur,
fur is used as trimming on his
coats and suits, coats, and three-;
piece costumes. . . .
VERA JACOBS of Capri has a
gay and lighthearted collection.
The short dinner dress is done
here in an all-over beaded crepe
with a deep front skirt slit. The
alluring knee may be peeking out,
next thing you know. She shows
a very attractive black velvet coat
that is double breasted with
rhinestone buttons and lined in
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shiny white satin. Incidentally,
the velvet coat is IN for Fall.
And a lining of the same color as
your coat on the way OUT. Bright
contrasting linings predominant
in a great many designer collec
tions. . . .
JO COPELAND of Pattullo de-1
signs the sophisticated type of
clothes that sophisticated women
want. Sleek is the best word to use
in describing a great many of her
costumes. She treats with great
respect the favored fabric of all
men and women who appreciate
fine things — tweeds. But even
these designs featuring tv/eeds
have a certain suave look to them.
Hipline folds are another fash
ions hint we're passing on. They
dot many a collection. Miss
Copeland uses them in a number
of the cocktail, dinner and eve
ning costumes. For wear under
neath furs she suggests light "im
practical” shades such as honey
and pale almond. Fashion doesn’t
always have to be so functional
that it takes the joy out of wear
ing clothes.
ANTHONY BLOTTA has gone
to the “land ot mystery" for in
spiration for his designs. It’s a
mystery to us why he had to devote
an entire collection to it. As much
as we’re intrigued with the idea of
the East we got a little tired of
hearing the identifying phrases of
“hidden temple pockets.” “punkah
sashes,” “Indian trouser skirts,”
“Calcutta-seamed skirt.” "lotus
leaf” and seeing “curry” fleece
done up in a coat that could only
be described as American in feel
ing. Somehow we liked it when
Mr. Blotta stuck to the designing
of the great suits he is noted for.
His “Begum” skirt looked awfully
much like one M. Dior had last
season but then I guess with air
travel what it is today, maybe it
was a hit in India, too! On# very?
good feature of his collection was
his use of ocelot trims on his fleece
coats which are really in the Blotta
tradition. High-rising collars in
many of the costumes force us to
tell all. A lot of the designers
must feel that we women are ex
perts in the use of cosmetics. So
expert that when a collar hits our
throat or chin (double chins are
jout on this style) they won’t leave
iUs with powder marks. They are
fine for framing the throat, but
| we re so practical all we can think
I of is the work it’ll take to clean
them after the smudges are once
; on. Also—do you fellows on
: Seventh avenue think we’re really
going to have as tough a winter
as all that? . . .
Compare other milks with
the milk at SAFEWAY
More cream-content in Safeway’s milk-proved by
independent laboratory tests. See the chart botmi
i
More cream-content means you get more
f good things when, you drink Lucerne..
| Nutritionists state that, in mOk, cream*
content is the principal source of food
energy value... and of vitamin A and i
vitamin D. And you know yourself that
milk with a high cream-content is else'
richer milk... and better tasting milk.'
The more cream-content in milk, the
more of all these good things you get.
And Lucerne .Grade A, day after day,'
contains more cream-content than
other large-selling homogenized milks.
(Lucerne is homogenized to be sure it•
“cream is perfectly blended...to give you
the same creamy flavor in every sip.)
Lucerne Grade A Milk comes to your
Safeway fresh every day—from just the,
finest kind of dairy herds. You’ll like it
better or your money back.
Here’s proof from an independent laboratory
OF LEADING HOMOGENIZED MILKS TESTED, LDCERNE SCORES HIGHEST
IN CREAM-CONTENT 1
A well-known independent testing laboratory
was assigned to compare the cream-content
(or richness factor) of leading homogenized
milks sold in this area at regular prices. Day
after day, the laboratory tested samples of ■OW*
Lucerne Milk and other leading milks desig- Cttti-COKTtllT
nated as Milk 1. Milk 2 and Milk 3. All milks OKI WSTWCT
tested, including Lucerne Milk, were bought NINIiW
directly out of grocery store refrigerators and
tested under identical conditions.
Read at right what the research shows —
note that these independent tests prove
Lucerne Grade A Milk scores highest day •’*!?!?. .Til!!!!!!1.,
after day in cream-content, in richness. «iii»niuT '
Why don't you try Lucerne i
...of SAFEWAY I
(Cods loss than homo-dollvoiod milk) JH