Evening Republican, Volume 21, Number 290, Rensselaer, Jasper County, 12 December 1918 — LATE STYLES ON LIST EACH WEEK [ARTICLE+ILLUSTRATION]

LATE STYLES ON LIST EACH WEEK

! i.l UulttJ* uui iMfe *•* ...» Xt- . xt * • rrvl_ v ‘ ax 14. SSEKE vals. When the sector of skirts seems settled into comfortable quarters, they drive in a wedge and change the silhouette or the treatment of detail sufficiently to make the public perk up with* interest. When-the condition in jackets appears to be well settled in trenches, they destroy the serenity by throwing over grenades which break up the line, change the arrangement of the neck, and shorten the length. They do not cease from troubling. By this constant maneuvering for surprise, they keep the public from losing interest in the industrial battle. Their patrols are' constantly going over 1 to France to get new information to bring back in order that a small flank or frontal attack can be carried out with success. They do not permit women to feel confident of their clothes because they were well chosen in October. . Details of Changes. It might make interesting reading to run over the fashions of last month and those of this month at the points where they differ. In other days, we would have called it the stabilization of fashions, for November was the month to expect that kind of shaping down into settled serenity after the turmoil of October. But one does not feel that anything is stabilized today, not even in the apparel business, especially under the stimulus of new conditions. As the war changes, we change.

It might better be explained by saying that this month, much has been that was considered first class in’October. Those who showed their gowns late in the season practically eliminated many of the overpopular French models that arrived in September. The public, guided by these dressmakers, therefore, had the opportunity to avoid what was conimanplace and overdue. Say what you will, there is a keen irritation caused by paying, upwards of S2OO for a copy of a French model that is In half the shop windows of “the country, selling for SSO. It was only natural, therefore, that changes should come about in not only the details of the gowns from one month to another, but in the ornamentation, and even in the silhouette. Uncorseted Figure. These later exhibitions of clothes, by the way, accentuated the corsetless figure. This does not mean that the mannequins who showed the gowns

were always without corset* Some of them were. But others wore girdles of tricot or elastic. The effect was uncorseted. That was the vital point Some of the greatest hotfses in Paris insisted upon this effect in their August exhibition* but we have always tabooed the idea In this country. It is not possible for any but the young and slim to go about in clothes that are merely dropped from the shoulders and tied around the waist The new effect is not only exploited by the very leaders of clothes in this country, but now if is being taken up by dozens of slim women. One of the most interesting moves in this direction, is a return to the Directoire of Josephine and Mme. TaiHen in the high waistline and the nnooubted convex curve of the natural figure in front To the average woman, this silhouette is unthinkable; to the artist* sculptor* stage folk and certain designers, it is a return to the best there is in fashions. It is impossible on the middle-aged woman, unless she has kept herself as thin as an eel. - -

Signers, it really reduces the figure to

tfan hip-band that holds the material tightly to the figure and then allows it to drop downward to the toes and heels. So it is not i>ure Directoire; it is a combination of Roman and Egyptian. Callot'* Mummy Frock*. The house of Callot also accentuates a change in the silhouette from what we have had from other French houses. It is nothing new under the name of Callot, for it was advanced last February and we called it the mummy silhouette, for want of a better name. The gown is really a bag, with square. sleeves and tight ankle* It is in striking contrast to the straight, chemise tunics of nearly all the other French houses. , This season it is not so pronounced in its baglike proportion* It takes on more of the. atmosphere of a gown Intended for a live, and not a lay, figure. It pulls upward in drapery around the kfltees and ankle* has a closer line to the figure under the arm* and depends for its beauty won Indian embroidery that spreads itself in sharp points down the front from shoulders nearly to knee* Thje is usually done in copper tones of silk floss. Outside of this peculiar silhouette which the dressmaker exploits more than the public adopt* are the draped Boman and Grecian gpwns which are also in direct contrast to the chemise tunic. v _ And • here is another decolletage which is a change from October and which Is seen in black velvet govms; the fabric is cut to the bone of the neck in back and then downward in a deep U in front. It is edged with a three-inch collar of antique ivory lace which is slightly full, but caught to the fabric, so that it may rest flat and i steady. This extends nearly to the waistline, and where the lower part rounds itself out over the figure, there is a straight tucker of flat tulle covered with lace. This is an eighteenth century decolletage and is far more becoming to any woman than the severity of the half low, medieval line. (Copyright, 1918. by McClure Newspaper Syndicate.)

Picturesque frock of black velvet Fits tightly over hips and forms graceful folds around feet Collar and deep cuffs are of tucked chiffon.

- " ■■ This la a charming Callot evening blue tulle. is embe I 9 e • • . big pink rose for the trimming.