Evening Republican, Volume 22, Number 25, Rensselaer, Jasper County, 29 January 1919 — Quick Change in Style of Gowns [ARTICLE+ILLUSTRATION]

Quick Change in Style of Gowns

j_ Nc w York.—-It-Js- ti me te change a few things in women’s apparel, asserts a prominent fashion authority. Wonv nen~afe leaping from uniforms Into of aold, and crystal,. and tulle in brlijiant colors, and into smashing furs and red street apparel. —Therf+ are- significant changes -working up from, the ground. There is. the. new. decrdlctngo Tvirieh wa< prophesied : ''TB~Hns-'+bqmrtTtnnrtc'tvTa’kS"~ngn and Which is coining into view as smart Woio-'H 'exploit it. Half II (h-zi'i: new .ways of cutting the neckline have JeapeiT into Collars claim the blue ribbon of ex-Ccrit-iice. , No mil Her whet her we d+t-ss differently almmt th<- hips, and feet, we -..arecces.' i eg decidedly_jljfferently about nfo neck, and even the w rists. H- is rn Hie<-- • s;girin<’-:int • that the great mass of woim-n are in-fi-reSted wjio do not feel that they can afferfl entirely new gowns for tl:e ttiitb--seiuon. . ■ - -- I ■■ - --r:- ..- The artist v.jjp Siud.Xhat.alLvChaagesin fashions for woim-n consisted in the placement of the bulge, or- the absence of it. should have added that the open spaces In costumes w‘ere second in importance. ~ ' no ~donl>t_ that he was right. The contour is the thing. - It is wliere a garmeftt goes tn or out that determines its fashion. Few women there are who are brave enough to go _ against the contour of the hour, even though it may not suggest the best there is in their figures. New Decolletage. The change in the neckline is perhaps the most *mi>ort!tnt to the avernge woman. She has belief in herself when it romes to cutting kind ' of neckline. She feels that a good pair of scissors may be the medium of transforming an old gown into a new gown by the simple process of turning an oblong neck into a round one, a square one, or a U-shaped one.

All history is filled with rapid change?nF the neckline, and so far we have not had anything new. We have rung the bells of history all over again. That is all. ~ , When Edward II was king of England the wqmen wore the georgette. which wrinkled about the neck and spread outward over thb chin and the back of the head. This was introducfetl To fashion d few years ago through tF ’dancer and her clover de-" signer. It is still wornby women- who gq motoring, and they make it of dark blue crepe or veiling, rather than of white, satin. When Richard II was king his French qu££ji_' -JbrOUf hr over the fgshion of the low neck, and so, after centuries, women dropped the neckband of the gown from chin to collar bone. Elizabeth was queen of England the delta decolletage was invented, and it ran alona will; another neckline that exposed all the chest and half the shoulders, and " then, as if by fl sudden spy >:m of prnflory hi fl tbo neck and ears by an immense rug. —_ When James I came to the throne of England, his queen introduced the very decollete, tight bodice with Itsr immense; flaring collar of wired lace at the back, and when Charles I allowed Henriette of FTance tb * lend the fashions for his court, there vyas the low. round neckljne that dipped well in the back and Avhs- finished with a deep vandyke collar that extended over the~ sleeves. In tlie picturesque days of Queen Anne women introdneed the -low, square cut decolletage, guiltless of collar, which our wopaen have worn for two decades; and in the middle of the elgliteenth century-, in'.the Georgian qra, wbmen used a simply decolletage Ur a rounded V outlined with a wrinMed handkerchief as a part of their-street attire.* Running th«",niind over this slight

summary of historical changes in’ the decolletage, ft is easy to see.that we have deme nothing newg-biit hege Js, what we are going to do at the imme_diate' moment: Revive the . delta of the Elizabetliiui times, the deep square' of' Queen Anne, with its tight, high line at the side’ of the neck, and the • U-shiip<-d derolh-tagi- of the end of the eighteenth century, with its modesty pi i <-eaof-kiec. Return of Lace CoHars. We have gpm- through a season of medieval severity in the neckline. “Wiimt n have a.idclLnatiire which mads; them ugly or cheated nature w Inch . m;. d e 111. ■ m I■ea ih iill i by going abont witli<iut any softening effect at the. neck, by wearing coat collars of honiesjrun unrelnjved by white, and by -lie Use of V-sl-IliX-d ;illl-S Of l.i-:t\,v vt'l-s veteen and crepe which fashion kept unadorned. True to id-mry this wtm, but notirut- i<> ;irl. ’i'iiere were few women :.w.ho .looked th-;>■ best In such sever* - ■ ;ty. Today collars return slowly, i There ■ are still, those who tell you .they- are not smart, but at the exclusive house there is a tendency | to put precious lace on the new neck- ~ line. • T“ is rar rr X T -~sh-iiied neckline I it is, a deep U which calls for a soft- ' eiiiiig dutlTne and - an snft (-arrangement off lace -or tulle across the bust. The Queen Anne decolletage which litlit* siilu l of the nocte’ tiiid runs down into a narrow openingis extremely smart, and it is banded with fur and then filled in with fine folds of silk net. It is felt l»y those who have their hands on the pulse of fashion that the no longer smart, although it is worn by sohie well-dressed women. Double Neckline. There is a disposition on the part of some designei-s to make a double neckline, and this they do by a subtle

arrangement of thin fabrics. A cer-. tain designer has turned out a remarkably brilliant gown of raspberry chiffon having a deep U-shaped decolletage outlined with chiuclulkr wbjch swings the chiffon with the movement of the figure, as though it were aTTeckiace. Beneath it, and hugging the bust in the eighteenth century i manner, is a bodice whh a rounded deeolletage. ' —There will be an oblong Renaissance neckline that reaches from shoulder to shoulder, cut on a tight satin bodice, and over that will be swung a looser bodice of colored chiffon or tulle which is high at the backhand has a long. Tomided line in front that drops to the waist. - Black and seal brown velvet afternoon gowns haye the Queen Anne decolletage, which follows the exaqt line where the neck is placed on the body, until it gets to the collar bone?where it dips into a straight, open space half way to the. waist. This is outlined with fur. Again, it may be outlined with Venetian point. The delta decolletage is considered the ’most becoming of all for evening wear. Get out any picture of Elizabethan times and you will see what is meant. In that gorgeous era the women wore a jeweled piece of open net over the shoulder to the base of the peck at each side, and then the decolletage spread downward and outward to the arm-pits. I - Tike this change in the neckline seriously. It will govern the clothes of the next few °weekß. , ~ : :/ -■ •. • — Syndicate.)

V-shaped decolletage in back of a black velvet evening gown which is cut high in front. This idea is worked out in many types of gowns, even those for street. Delta decolletage shown in new brocade evening gown in white and gold. This neckline originated in the Elizabethan days.