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•- ---Bm HART MAKSBALL--.___ * MAIN REQUIREMENT IS THAT THEY SHOULD BE FULL OF ELABORATION SLEEVES wide at the elbow, sleeves wide above the elbow and sleeves wide below the elbow. Sleeves with long, tight cuffs, sleeves with flounces near the shoulder, ■leeves with flounces or ruffles near the wrists. Leg o’ xwitton sleeves. Bishop sleeves, Angel sleeves, Dolman sleeves. Evening dresses with long sleeves and daytime coats with elbow sleeves. This is indeed a season of varied arm coverings and there a siefve fashion of the nineteenth century that has been tried by some important French dressmaker or another in this thirtieth year of the twentieth century. When yon recall the fact that the fashion history of the last century was marked by a continuous series of revivals of all the romantic periods of the past, you can readily see that there ve*y little in the way of sleeve design that has not been brought into play in shaping sleeves for the present season. rsxpenmenta Had to be made, because bo many seasons had passed since sleeves had been g elaborated in any way. During 7 *11 the seasons when we were i preoccupied with skirt lengths sleeves remained practically un changed, There seemed to he no pnwtype of sleeve that was natur ally due for revival. Ti e only well-defined feature of the sltu •ttandras that alcoves should be NommoJaborata. And la launch inC"<he new era of arm coverings tbe-drossmakers have bee? me«t generous. They hav* given us practically every type of sleeve that can be Imagined, taking them, as we have seen, from the • days tn which they were revived In- the last century. [Empire Mode *' From the Dtreetotne and Em pire fashions of the first part of •thenineteenth oentury have come £h^ sleeves that show short puffs •r ruffles near the shoulder. From the 1830-1840 period they havs taken sleeves full from the elbow to the shoulder, and from the same period the drooping shoulder line. From the 1850 1860 period we have the leg o’ mutton sleeve and from the 1880 period come sleeves that are snug from the shoulder to below the tlbow with marked fulness above the wrist. And so on through the century. If you want to get this sleeve situation well in mind, glance through the pages of a book dealing with the history of cos tume in the last century and com pare the sleeves with those seen in the smartest of the new dresses. You will realize that each of these is in fact a revival, but despite their diversity you will observe that there is something I -about them all that marks them distinctly with the date 1930. As a whole they are simpler In con struction. less fussy, and more graceful than their prototypes. If the .fulness occurs above the elbow then the lower portion of the sleeve is closely fitted to re veal the slender lines of the lower arm. If the fulneas occurs below the elbow then the sleeve is closely fitted or draped above the elbow*. There Is never anything bulky or over-elaborate about even the most ambitious of these revivals. Double and Dolman Among the most clever of the new sleeves are the new double sleeves that gi\e the effect of light gloves with a dark dress. Here the sleeve is made to con form to the lines of the arm from the shoulder to a line a few inches below the elbow, where a Hare or cuff of the dark material in dicates a sleeve of a three quarter length. Below this is a I'nr-trim mod coat sleeves show all the new device* used to make sleeves one of the most attractive dress details. closely fitted long under sleeve of light-toned crepe, usually to match the cellar or vestee at the neck of the dress. Dolman sleeves are unquestion ably coming to the fore and have already been noted not only on coats and street dresses but on afternoon dresses as well. As most of us can readily recall, a dolman sleeve is made with a deep armhole, the material of the upper part of the sleeve usually being continuous with the mate rial of the dress. As a coat sleeve this has decided advantages since i» provides enough room in the sleeve above the elbow to ac commodate any of the new dress sleeves that are full above the elbow. With the evening dress made with flounces near th shoulder an evening wrap with this type of sleeve has obvious adv antages. Long Gloves Dong gloves have established their place in the evening mode and are bidding now for favor in the daytime wardrobe. There are new fur jackets with sleeves tnat end In a slight flare below the elbow, to be worn with elbow !* ngth gloves. Under a fur coat of that sort one wears a dress with long sleeve?, the gloves be ing drawn over the dress sleeve. small buttons usuatly covered with the fabric of the dress are* used to ornament many of the new sleeves. A line of these but tons may extend tn a straight line from the center of the shoul ier Top left, wine-red silk crepe shows llarhig cuff- on sleeves* velvet IH-tals ut wrist; top right, green cloth cvwvt has sleeves slashed in I*oints, the points held with buttons. Center group of sleeves shows wrinkled Mack velvet cuff with narrow hand of fur. a puffed sleeve with fullne«.~ gathered into frilled cuff and a puffed sleeve with fullness held in by a shaped euff. a velvet afternoon •■oat sleeve short at the front to show the glove, a long tight sleeve with puff at the top. a sleeve that gives a m;»ny-ea|>c«l, effect and a sleeve with a pointed otcr drapery. At left, below, evening dress with short sleeve made of ftetals «»f silver and rose paillettes, at right, below, a sleeve made of narrow tulle ruffles, and center, a black velvet dress with sleeves puffed at the top and trimmed with bands of head embroidery like the yoke. Eyelet-embroidered slllc crepe tunic has deep silk raffs on loose sleeves. to the wrist on the outside of the sleeve, over two dozen small but tons being used for a single sleeve. Or there may be a line of them from wrist to elbow on a sleeve that shows fulness at or above the elbow. Or this line of buttons may extend only three or fcur inches up from the* elbow. Color By Night SOME women seem to follow the general rule never to wear bright colors save for eve ning or for very bright sunlight. ] For street wear and day-time wear generally save at the seashore or country, they choose dark or neu tral tones. Thus there are French women of good taste who habit ually choose black or qavy blue or beige, according to the fashion, for day-time frocks in and about Paris, who don bright and vivid colors for the months they spend at some seaside summer resort. The fact is that in the cold pen etrating light of our cities it is difficult to wear bright colors and still to look smart. This is espe cially true of older women. One authority on such matters says that the woman with blue eyes should wear blue in the eve ning. Of course the blue-eyed wo man would hardly be expected always to wear blue, but she should certainly not miss the op portunity of sometimes wearing a color that so becomes her, espe cially this season when the blue evening frock is so smart. Dress or Gown Robe or Frock? MOST persons call them * "dresses ” This Is the term that has been usually adopted by the makers of this branch of apparel and the name that is used by the retailers. “Ladles' and Misses Dresses” 1* the direction the elevator man is taught to pive—not “Ladies1 and Misses* Frocks.” While this word ‘‘dress'* is most usual there are some people who object to it used in this sense. Rome persons always speak of ••frocks,” and others of “gowns ’* Perhaps the chief objection to the term dress is that correctly it should be applied to all that is worn from head to foot. When you read “her dress was rich,** or “her dress was inappropriate/' you naturally take it to mean her entire apparel, not merely her gown or frock. The word robe, which cams Into fashion the middle of the last century in this sense, is spoken of in 1862 ns “a French mamua maker’s affectation.” Correctly U is the apparel of kings and judges. Certainly this word hardly fits the sort of dress that women wear nowadays. It im plies something rather stately and flowing. Gown was revived as the term for a woman’s dress a little after “robe.” It has the advantage of having been used in much the . same sense at an early period. However, like “robe” It some- j times conveys a sense of dignity and an emblem of office Frock somehow seems to All the bill better today than either gown or robe. Originally frock was applied to the garment of a monk, and it is because of this that we use the term “unfrock,” to indi cate a clergyman’s loss of rank. ©McClure Ncwpaper Syndicate. . NEW MODE SHOWS FUSSY DETAILS WOMEN THOUGHT THEY WER~ WELL HID OF THIS is a season when we do all sorts of things that we vowed we would never do again. \\ e are wearing evening dresses that dangle round our insteps and ankles —and most of us vowed we never would do that. We are wearing troublesome lingerie collars and cuffs and vestecs that have to be taken out and washed or sent to the cleaners and then fussily sewed in again—and we at least hoped we would never have to do that again. And if we are very up to date we are wearing long lace-edged slips or even petti coats with our long evening and afternoon dresses—a thing that most women considered definitely out of the question a few seasons ago. The new long petticoats are most amusing, because they are so very much like the sort of thing that we considered impossible such a short time ago. They fit snugly at the waist and hips and flare out toward the knees, extending actually down the ankles where they are edged with lace. The tendency for more elabor ately trimmed hats must perforce move slowly, but here and there among: the new French berets and bonnets Interesting . trimming makes Its appearance. There are coats are of fur down to the elbows with the lower sleeve* like the skirts of the cost made of , cloth. In other costs flaring cuff* I of fur extend up to the elbow. Tho figure shows the new dolman sleev© and oowl neck. Tb© . oilier sleeies are al-si -mart and new. l/nalnt silk velvet drew lias parted sleeves—and a puffed skirt trimmed with rosettes of the dre*-* material. BLOUSE! This week’s Sewing Help la % pattern diagram for a sleeve, less blouse, the kind yon can wear all winter under a jacket lre>«. If you would like It, send your stamped. *elf-ad ilressed envelope to Mary Mar. diall. rare of this paper, and It will b. sent to yon. pairs of very small quills at the sides of some.of the new brimmed hats and sometimes two small feathers are placed Just behind the left ear on a brimiess hat I Some of the new coats for win ter are made with the bodice portion entirely of fur which ex tends Just to the belted waistline, giving the effect of a bolero. Sometimes the sleeves of these the tipper part of tho sleeves being of cloth. The short capelet of fur. as worn by women of the eighties and nineties, inspires otbec winter coats which show elbow length cape and rolling collar ®l fur over a long coat of cloth. Th^re no longer seems to be * any question about the muff. Coats with fuj; collars are fre quently made without fur on tbs cuffs but accompanied by small fur muffs to match the collar. Veils, too. are quite likely to return to fashion. Talbot of Paris has made a charming poke of Directoire suggestion with s veil that fans from the flarlnf front brim over the face and down to the shoulders, while ths same milliner finishes a small Juliet hat with a veil that Jus* shades the eyes. Autumn Colors Brown - Instead - of - black and near-blacks are Important tot autumn. While black has a perennial ap peal to the smartly dressed wo man. and while French dress makers always incline to the us« of it, a definite effort has been made to make use of shades ol brown instead of black for con ventional street clothes. Callot, of Paris, is In the vanguard ot this movement and doubtless w« shall see a great deal of brows during the autumn. At the same time there ar< various dark shades of navy bluet r f green and purple that ars spoken of as near-black or light* *-r than-blark. There is a "plum black” and a dark hsrgundi called "ink" that are much dis cussed at present. There is definite smartness le green this autumn and many ol the smartest street costumes fronj Paris are developed in the darker, richer tones of this color. ■ "y The Kketeb show* how em broidery to owd to eenbelltsl an otherwise plain sleeve.