Evening Republican, Volume 20, Number 265, Rensselaer, Jasper County, 4 November 1916 — STRAIGHT LINE IS THE FEATURE [ARTICLE+ILLUSTRATION]

STRAIGHT LINE IS THE FEATURE

Dominates in the Latest Importations From the French Masters. 4 DIRECTOIRE TO THE FRONT Grecian Style* as Used Under the Directoire Are Also Revived—All Skirts Remain Full, But Cling to the Figure.

New York. —The dominating feature of the French gowns which recently arrived In this city is the straight line from the head to heels, which all the Paris masters seem to have adopted. One of the best gowns from the house of Cajlot is called Vision, and is built of amethyst velvet with Grecian bodice girdled with a narrow band of gold braid. A scarlet flower is placed at the side of the waist. The tulle over one shoulder hangs across the back and follows the long, pointed train. The skirt is very short in front and the train reached out from the side. .

An already famous gown resembles a mummy case. It Is called Chrysis. The front is a straight panel with the bodice part of black chiffon, and the rest of black satin thickly embroidered with metal threads and green beads in blocks. A box plait of satin at the back is also embroidered. A gray one that has been greatly admired is called Sacre Feu. The bodice is of net embroidered in oxydized silver with a panel of'the same down back and front. ▲ gray tulle cape goes over the shoulders and begins at the middle of the neck In the back under a small narrow cravat of fire colored velvet ribbon, the ends dropping to the knees. Around the waist is a narrow belt of the same. Bulloz Strikes a New Note.

The moment the buyers arrived they saw that Bulloz was going to'make a sensation. In a way, this house took its pattern after Callet, but it has done brilliant things, and there is a feeling among the experts that the lines of Bulloz will lead in a few weeks among the really smartly dressed, exclusive set. x

A frock called Empress Josephine is of black velvet made in a straight line from the bust, with a pointed ornament of green and silver in front and back, a little to one side. The skirt is narrow, with a long train, and the small sleeves are of black tulle. There is an unlined band of gold lace below the hem. The skirt is longer at the right side and Is laid in plaits at the hips. Another called Incarnation, Is of silver and gold brocade, with a brilliant rhinestone ornament in the front with a blue medallion In its middle. The train is made by sewing a width across a long-waisted line in the back, the fullness forming the train. There is also a jade green brocade gown,, with stamped silver flowers which are veiy vague in outline. It is called Lucrece. There are two streight panels in front and back, also

a long train and a half bodice of white tulle and rhinestones. There are long, medieval sleeves.

A marked deviation from the medieval style is in a gown by Bulloz called “Watteau.” It is of flowered silk, with many groups of roses, and open panniers edged with gold lace. Cheruit has sent over a coat gown of black panne velvet, which is distinguished. The plain skirt has a train, slight fullness and is unusually long in front. The jacket blouse reaches the is shaped in an austere, medieval manner, and is fastened down the front with three large gold ornaments. There is a narrow black velvet girdle slipped down over the hips, fastened in front with another gold ornament There are straight, short elbow sleeves. The placing of the girdle has created a good deal of discussion on this side of the water. Some designers put it around a normal waistline; others insist that Cheruit intends It to be dropped well below 'the waistline. There 1 is also a medievaL gown of taffeta skirt, which reverts to the bar-

rel effect that Callot* exploited last winter. It Is trimmed with many irregular rows of black sequins run around the hips. There is a square, medieval cuirass of heaty sliver lace over white tulle. It is loosely bolted at the normal waistline. The peplum IS quite short and full and there is a large, drooping silver rose at the side. The half-low neck In front Is outlined by a straight collar tof white tulle which grows much larger in the back, and it and the silver lace droop together in the back, hoodlike, nearly to the waistline. Beneath this hood is passed a straight piece of flesh-pluk chiffon. Loose, straight sleeves of the silvei hang to the elbow. Worth and His Rhinestones. One of the most popular and highpriced evening models by Worth called Kubis, has an extra full skirt of gathered ruby tulle hanging straight from a high waistline. The bodice is cut to a low V In the back, ornamented with spreading butterfly of red beads, which holds in place the court train

of red velvet. The edges of this train are attached to the back of the full tulle skirt, which serves as a lining to the train, and while not holding It closely tb> the body, does not allow It to turn over on ,Itself. The entire front of the bodice Is a butterfly arrangement of ruby rhinestones, in the well-known Worth manner. There is also a sumptuous evening coat, quite significant of Worth, made of ruby-colored velvet, its wide sleeves finished with a deep fringe of ostrich tips, to match the immense collar which is entirely made of these feathers. Nothing Daring From Jenny. Probably the most noticeable feature in Jenny’s new gowns is the way she turns up her skirt at the bottom. There is a dinner frock of black satin, with an extra full, Elizabethan skirt covered with a scroll design of oyster-gray stitching. The bodice of black satin has sleeves and drapery of black tulle. There is a dance gown of Chinese blue panne velvet, lavishly trimmed with silver lace and blue chiffon. The skirt is made in.the way that Jenny had adopted, an imitation of Russian or zouave trousers. The fullness at the hem is drawn under and gathered ten inches higher to a tight lining. The sides and back of the gown are of silver lace and blue embroidery, and so is the bodice.

Jenny has also sent over a Dresden gown of Dresden silk with slight loopings at the hips. There is a long, square train and also a petticoat of thin gold lace. Georgette Exploits the Grecian. Georgette has sent over a gown Called Phryne, which is quite Greek. It is of flesh-pink crepe de chine. There is a draped surplice at the back, but it is straight across the front below the collar-bone. The loose armholes are edged- with brail and there is a loose gilt bracelet across the top of the arm. The skirt has long, drooping folds at the hips. There is a loose, gold girdle tied at the back, ending in red and pink roses, and a wreath of red and pink roces thrown over one shoulder at the back. There is a petticoat of satin, with a deep tucked ruffle of flesh pink chiffon. Another gown by Georgette called Groseille Is' of black satin, the skirt placed on. the bodice with Elizabethan plaits at the sides and back. It Is a trifle long waisted. The bodice and high,’loose collar are fastened down the back with black buttons, and there is much fancy braiding in oyster gray. The Directoire Hat Today.

The milliners and the dressmakers go hand in hand in emphasizing the directoire and the middle ages. So quickly has the fashion spread in America that the conservatives are wondering where they can get exclusive hats. The blessed part of it is that variety has been the keynote of French originality this season. The dominating; feature is the high crowni no matter what the brim. Of ornamentation, there is very little. Metal threads are conspicuously used, as they are in gowns. The crowns are soft and can be pulled in and out of shape as the wearer wills. While the wide brim remains, the low, round crown has vanished. L (Copyricht, bv the McClure Newspaper Syndicated

Worth’s Coat of Ruby Velvet.

Velvet Directoire Hat