_-_1_~.,~; ‘- as enhouSe ‘ ressed Women Will Wear Bl] Aime Riii (daylight [.923 by 771: ”ca/re Newspaper Symi'cate. Circular CutI-s" Given to Look Like Wind-Iwn Fabric are circular in spots. This is a clever fashion of the season. More material than usual may be put Into our clothes. but it insists upon clinging to the fig- ure. Most women look as though their new clothes were pasted on them and the French are so struck with this fact they use the Paris equivalent for ”past.” when they describe their creations. Only one single fashion departs from the slim outline and It gives women a feeling of unpleasant uncertainty. It Is the minor mani- festation of the Cambodian sil~ houette In stiffened gores at the side of short jackets and blouses. it has timidly appeared In skirts. also. reminiscent of those ungainly garments worn about thirty years ago. This Is the revival of crino- line in actuality. The full Spanish skirts with their tight bodices. and the light and airy farthingale at the hips. were as nothi com- pared to this genuine c olined extension to the human outline. There's little use in crying “be- ivnré”. for If It Is to be. it is to be. As an offset to this fashion there i: the insistence of smart women that the prevailing circular move- mom in fabric shall confine itself to details. In capes and sleeves. Iu flounccs that end as quickly as they began, in the brim of large hats. in godets that lie softly. the movement is acceptable. Even In the face of this constantly re- peated fashion, there is a large mass of women who will have naught to do with any silhouette that is not a sister to a. pencil. NO matter how slim we are. we Women Slimly Outlined Never were women so slimly and so gently outlined against the landscape. They appear boneless. The extra material put Into their garments merely serves to give them the effect of being wind- hlown. Every line Is graceful and gracious. They look uncorsetted. whether or not they are. This is really a triumph of the designers. They have more to do with It than women. Be sure that the material of your new clothes Is soft. Don't indulge in fabric that has stiff- ness. The new cloths for tailored frocks and suits are as pliable as velvet. America has produced some weaves of high merit. wear- able and not so expensive as the French ones. Until the use of crinoline becomes an established fashion. If it ever does. these fab- rica will convert the circular mave- meut into something quite harm- less. The woman with hips can feel that someone has taken care of her In advocating it: the woman who has the dimensions of an eel. will show herself off to an admir— ing public in this latest silhouette. So every one should go home happy from a day of she in It Is difficult to outlineptphe ‘vari- ous methods which give to a sheath frock sumcient width for easy walking. The circular flounce placed at the knees. is the most frequent trick. Once it went around the skirt; now it stops short of the back.‘ It ripples like Sleeves like these are frequent lectures of fashion, showing the ctr- ouiar movement in details... At top is a beige caracul fiouncc'add’cd to a day coat; the lower sleeve is tight from the armhole until it arrives at the wrist rufllcs, which are widely oirczdar. .tOWard the left hip. water after the traditional stone has been thrown In. but It does its rippling on the bias and mounts This Is a good line. The circular flounce put straight around the bottom of a princess frock had no merits whatever. It persists In some places. but its successor ls far the ’0')!- (‘hanch of Parts, sends to match the frock Wrath It. decorated with bands of fur. "‘1 French wraps Mite. Amer too this short little circular cope to It is almost Victorian, «noisily as it. Is It dare not meet in front, a protokmg The circular cape attached to a amt-n to give gag/cry is m high fash- ion, and is here shown in mcfol lucc with more depth at back than front. better choice. The flat back is not disturbed by circular movements. Neither ruffle nor tiers nor godets are imposed upon its Oriental severity. Sometimes the straight line is broken by a few wrinkles to bring the fabric into a buckle at the hip, but whenever the body can stand it. the fabric hangs plumb from neckline to hem. Trying line. that. Get the verdict of your most candid friend before you at- tempt it. The bustle bow. the ornate streamers, that recently made their resting place on the back of a frock. have vanished. A small leather belt passes around the hips on frocks of cloth for the street. but this is the only thing that has the temerity to leave the front. It Is a singular fashion. but it is prevalent and powerful. There are women who must re- bel. Their format rr rlemands It. \Vhat. therefore. shall ’1): ;: wear? Happily, there are it liiuns for these. The ‘ slightly gathered skirt at the end of c. Icu; bodice remains in fashion: so Joe, the gown with many small circular flounces that cover the skirt. The long tunic over a plain skirt Is admirable and in good repute; never more so; we are almost Per- sian In some of our outlines. al- though we omit the gorgeous Oriental girdle in preferring the ancient garment which slightly outlined the figure. It is more Cambodian than Persian. prob- ably. Whatever Its source in the period when fashion was In the making. it is here now in all its glory. It can be as demure as a nun. As a. street garment in dull- colored cloth or velvet with touches of fur or self-colored em- broidery It serves as well as in metallic cloth or gay velvet for affairs under the roof. It is suit- able for women who cannot wear the princess back. The Godot. Enllvens Garment The godet Is an old friend. It knew the passing generation bet— ter than the new one. but it pre- tends to bear the earmarks of novelty this season. It Is the simplest way to give width to a skirt when one does not wish to use gathers. It is a sophisticated improvement on a. primitive fashion. It belongs to all the ages. Probably the Chinese are the only ones who have never sponsored it. Their neighbors. the Indo-Chinese. however, make much of it. The Cambodian dancers who were in France gave the idea to the Paris dressmakers. hence our present use of It. Godets are placed at the sides In the new garments. They are not permitted to encroach upon the back or front where flatness Is essential. but. their width on some frocks is so important that they well-nigh conceal that flat- ness. This is true. especially, of evening gowns built of splendid fabrics banded with fur. The newer use of godets confines them to a narrow space at each side. It Is net necessary to use the skirt material for these diversions from the straight and narrow At right—Tailored frock of navy blur ftrill u-itlt oodr'ts inserfrd at the sides 0/ hlmlsr; the skirt is formed by fire circular flounvrs that swing outward at tits sidcs. Day coat of dead-leaf brown cel— t'et rntircly embroidered with metal thread. The sides flare widely, but the softness of the fabric lets them swing in to the figure. path, but a wise woman does it. In this season. with its conflicting fashions and contours, the less patchwork. the better. bodice attached to a somber shirt The long- or the decorative over-blouse, both worn under coats, is the safe limit of adding one color and fabric to another. - The stiffened godet inserted Into the sides of short jackets Is a conspicuous fashion, but the soft godbt inserted in a blouse to stand at equal width with “tiered circu— lar Ilouncea on the skirt, makes one of the attractive tracks of the Autumn. Its acceptance points to the incoming of hip distension. the experts think. Revolutions 53*“... _ .. “.”— ...... .gtl'fifik hem of skirt with flattened front on of fur, and the long waistline is at begin this way. yet for the com- fort of those who dislike bulges in their clothes, there is the fact that clothes are as pencil-like this month as during the war. The women overruled designers and traders. It is wise for us to accustom ourselves. however. to some change in the flat. hip effect. much as we loathe .to change It. You may remember that the circular movement was met with satire and unbellef when it was Introduced a year ago last August by Cherult In Paris. I was In the grey salons that day and heard the words “im- possible", "ridiculous" from many Americans who sat In the gilded chairs. But we have lived to wear circular flounces and have them oflered to us as something strik- Ingly new. . It Is this same house in Paris that now exploits the distended godet on the hips of jackets and blouses. Another house offers the saddle bag pumngs of other days. Watch their advancement next Spring. ‘ The Victorian Cape Appears You may remember the success of several things invented by the versatile Chanel. of Paris, for the sellers of clothes bring to us whatever she has to offer, so that .2 we know It well. though some may not know her name: one garment was the silk sweater of other days; a later one was the creos- stitched, colorful wool nests: worn with the camel's hair cloth shirt: still another one was the fur-lined cloth coat matching the frock; the Russian clothes in great variety were treat her house: now also sends the short clrcularcape. a garment beloved by Victorian heroines of many novels. “ It is made of the same cloth as the gown it partly covers and Is banded with fur as it was in other days. In Its French form it does not meet over the chest. but what it lacks in warmth there. It gives to the neck by its high choker collar of fur. It reaches the el- bows and the mannequin who wore It at the exhibition of new clothes protected her forearms by a sizable mutt. That established the cape and the revival of the mat! at one and the same time. Those who have permitted the hands to turn blue with cold be- cause they would not disobey the / % "16*" Evening gown of topaz velvet showing the circular movement at .- 21 back. It is weighted with a band can by a band of crystal beads. edict against muffs may now go in- to blizzarda with a contented spirit and warm hands. Chanel was not the only great designer to restore the.hand.warmer in fur. One or two other houses gave these com- fox-table Colonial devices to their mannequins who are the ones. after all, to acquaint the public with what is to be worn. Just why can't the French make wraps that protect the chest? They can. but don't. Their clmatb Is damp. penetrating, dark, pneu- monia—producing in winter. yet they ”will not fasten their gar- ments over the chest, nor will they devise them for the more careful American. They like to hold their wraps together. whereas we like to leave the hands free. but they can’t hold the fabric across the bronchial tubes. for they don't provide an extra. inch. They cut the front lines on the bias so they cannot be drawn to-. gather. The Americans struggle with this proposition whenever they buy French coats and capes: The new cape is another evidence of their delight in exposing the bronchial tubes to = whatever weather the skies Innict upon us after Christmas. Our adaptation of 'it shows the fronts meeting. sometimes banded with fur to match the hem. Far more sensible. ii? a] ‘Mfllm MN i i
Norwalk Chronicler