Evening Republican, Volume 22, Number 26, Rensselaer, Jasper County, 30 January 1919 — Quick Change in Style of Gowns [ARTICLE+ILLUSTRATION]

Quick Change in Style of Gowns

i New York.—lt Is time to change a few things in women’s apparel, asserts' a prominent fashion authority. Women are leaping from uniforms into medieval gowns of igold, and crystal. ■fitET tmie in"firilltant colors? ‘mmririto’ 1 smashing furs and red street apparel. There are -’giiifiimi't 3e:eworking up frtmt the grterntd? 'i the now dOf tilt at n g;e7' 11 ir li tY us.pi ophofipfi f fir “this Weeks ug. i ami’ I which is cmr'lng into view SS smart !' women exploit it. Half a dozen iiew ways of cutting the neckline have I leaped into.existcri.ee alid a dozi'-u new ' collars claim the blue* ribbon of ex- ' cellencc. No maiiCf.w heiherwe dress differently about The hips mid feet, We tire Tlres-ing ileooiodly IU-neioiitly about the neck nntl fvm the wrists— — i Tin ihoi o s+gnitiiMiirt —ciumgeitr ‘ thin thr- ;il‘e !ri-t<i..-sted who do not feel that they-cau--4 <4ffor<r erit treiy hew gowns foe- the- midseason. . . The artlst \vF|Oisaid that all changes. ; In fashions for women consisted in the placemenF~of the bulge,' or the absence of it. should hove added that the I open spaces in costumes were second i in importance. I Cut t<i the hour-, there is no doubt ' that he was right. The contoim isJbe t*Fhfrig.“7 it is ' where a ’ garment goes tie ny piH that •determine* ion. there (ire who are brave enough to go against the contour of the hour, evt-n though it may not suggest the best there is in their figures. ■» —New Decolletage. The change in the neckline is perhaps the most important to the average woman; She has belief in herself when it <-oiues to cutting a new 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 changes in 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 TI was king of England the women wore the geor--goUee-Ayhich wrinklyd-about the. neck and..spread outward over Thfe-c’nin and the fiack of the head. This was, 4mnal -to fashion a few-'.yearns ago. througlk.a' dancer and her clever designer. It is still worn" by wdmen who go motoring, and they’make it of dark blue crepe or. veiling, rather than of white satin, When Richard II was king his queenbrought over .the fa-hion of the low.neck, and so, after centuries, women dropped the neckband of the gown from chin to collar bone. ' -i ■ ' When Elizabeth was queen of England the del,ta decolletage xvas invented, umirit-pw-along-with another neckr line that exposed all the, chest gqd j MIL the tFhmdders. and then, ■ as it by m sudden spasm of prudery, hid the neck and ears by an immense ruff. XVhen James. I came to the throne of England his queen introduced the' very* decollete, tight bodice with its immense? flaring'.collar of wired' lace at the back, and when Charles I rdh>wcd Henriette of France ’to lend tM. fashions for his court, there was the low, npund neckline that dipped well downward in the back and was -finished with a deep vandyke: collar - that emended over the sleeves. 3- : 7 ? -jIn the picturesque cays of Queen Anne women introduced the low. -j ci;t _d- ! evl7:t;.ge. guiltless, of collar. which olir womeri have worn for two decades; and in th«e middle of the eighteenth century, in the Georgian era, wofiten used a simple decolletage lit a rounded' V Outlined with a wnnklrd hnndkerebref ’ ats aypart" ;©f* thejr Street attire. • x the mind river this slight • • • • ' ' « ■ •

summary of historical changes in the decolletage, It is easy to see that we have done nothing new; but here is what we are going to do at the immediate moment: Revive the delta of Hie Elizabethan times; the deep'square of Queen Anne, with Its tight, high Tine a? The sid^ ; of the fieck? and L'-shajAed decolletage- of the end of J the eighteen th century, with its mod* esty pi* ce riflnci. . . . ' Return of Lace Collars. IVe hn've gon? through a season, of medieval severity in the neckline, Sttaneil I.I'VC ai<l* *l i*ature which um<k them ugly or cheated nature which nmde.Them beautiflil J>y__going about without any softening effect at the ,-nock. by y.i nriur- eciil collars of hCUVV ■ homespim tmrelieved h.v white, and by .-ilni us» ofi. V-shapeii lines of heavy veL wot con am! crepe which fashion kept iinridorned. [biie t>> hi-ioi-y tliic was, uvt not true to nr.. Til* re were few women •. ho lo .!<-•<! their best in such severity. 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 neckline. It is not a V-shaped neckline; it is a deep U which calls for a Thing outline anti afi-lSfreTrielv’ soft arrange ment of lace or tulle across the bust. The” Queen Anne decolletage which hugs the .side of the neck and runs down into a narrow L-shaped opening is extremely smart, and it is banded with fur and then filled in with fine folds of silk net. It is felt by those who have their hands on the pulse of fashion that the oblong neckline of the Renaissance is no longer smart, although it is worn by some well-dressed women. Double Neckline. There is a disposition on the part of some designers to make a double neckline, and this they do by a subtle

arrangement of thin fabrics. A certain designer has turned out a remarkably brilliant gown of raspberry chiffon having a deep U-shaped decolletage outlined with chinchilla v ruli swings tlua chiffon with the movemeni of the figure, as though it wore a necklace.—Beneath it, and hugging the bust' in the eighteenth cenmanner, is a bodice with a rounded decolletage. 7 , - -- - There will be an oblong Renaissance nc e'< 1i ne thitt rea ch es from -shea 1 der- to shoulder, cut on a tight satin bodice, und over.that will be swung a looser bodice of colored chiffon or tulle which is high at the back and has a long; rounded line in front that drops to the waist. Black and seal, brown velvet afternoon gowns have the Queen Anne decolletage, which the exact 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 w tih fur. Again, ft may be outlifirid with Venetian point. Th 4 deltff"decolletage is considered the most becoming of all fqp- evening wear. Get out any picture of Elizabethan times and yob will see what is meant. In that gorgeous era the women wore a jeweled piece of open net over the shoulder to base of the neck, at each side, arid then the i decolletage spread downward and outward to the arm-pits, Take this change in the neckline senipusly. It will govern the clothes jff the next few weeks. x ;/ ; - : - tCnpyright. IflSby McClure Newspaper 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.