Evening Republican, Volume 23, Number 82, Rensselaer, Jasper County, 3 April 1920 — Paris Turns to Old-Time Ideas [ARTICLE+ILLUSTRATION]

Paris Turns to Old-Time Ideas

French dressmakers are turning their attention to old-fashioned materials as well as to old-time designs. This is evinced, notes a Paris fashion writer, in the showing of spring and summer models in Paris. Never before has taffeta, a very old-fashioned material, enjoyed such a long and pronounced vogue. Fabric makers are improving taffeta. The only real objection to it in times gone by was that its stiffness made difficult the task of evolving graceful models. Now taffeta is being made thin and soft like satin, some of it having a highly glazed surface. Then it is being embroidered in various ways. Especially interesting among the new taffetas is one that has a coin dot embroidered in bright colors. Paris is adopting these new taffetas, and a great many mid-season models are being made of this fabric. A frock developed from a quality known as dlamontine in a soft gray is embroidered in raffia strands that are not dyed but treated by a process of glycerin finish which makes them as pliable as silk.

Fur Is Used at Random. To make these taffeta dresses more becoming the Paris dressmakers often line the collar and cuffs with a soft fur, such as petit gris. The fact that fur is becoming more expensive every day does not deter the French couturier from making what might seem to the casual observer unnecessary and unseasonable use of this precious trinlming. Madeleine et Madeleine have made a taffeta dress that takes somewhat the form of a draped polonaise, though frankly cut in two pieces. The waistline is low and loose-fitting and the draped skirt is joined to it under a group of minute tucks which extend across the center of the back and front only. A similar group of tucks gives fullness across the bust line; these tucks stop short of the armhole and lose themselves in a sort of drooping blouse fullness.

The bodice is finished without sleeves, the armhole being surrounded by tiny points, or dents, embroidered in copper color silk. There is, however, an accompanying guimpe which carries short balloon sleeves, also tucked. The skirt of the polonaise has the disappearing tucks and the scalloped embroidered edge. It forms a jabot drapery at the sides and is hung over an extremely narrow underskirt. The bodice finishes with a straight, round neck, but there is an extra collar ruff which stands very stiff and is centered*by a band of copper colored embroidery which falls at the back in two “follow-me-lads” ends. Dross Harks Back to the Thirties. Another polonaise dre6s developed in cashmere serge of fine quality and trimmed with cerise satin cire is em

broidered In gold and copper threads and dyed raffia strands. The waistline Is low, the front fastening decidedly at one side. The embroidered revers form a round yoke at the back, which, deseendin# over the tops of the shoulders, gives a sort of 1830 back. This model Is very well thought of by mid-season buyer*. Every Frenchwoman who makes any pretense at an to a smart wardrobe includes among her dresses one of black satin regardless of what other

Taffeta Dress With Sleeveless Armhole* and a Guimpe With Bhort Balloon Sleeves. The Neck Ruffle Is Detachable and the Dress Finished to -v be .Worn Without It I# Desired. -~J

materials may be in the limelight of fashion. Mma Jenny has made sous* especially beautiful frocks of blaCk satin for her customers to wear at the resorts, such as Nice and Monte Carlo. For these models she favors the flounced skirt. In fact, this may be said to be the most pronounced feature of her satin dresses. These deep flounces make the entire skirt. Instead of having a hem on the bottom of the flounce, a facing of black velvet to about the depth of a hem is used. The idea of the

flounced skirt comes from the French stage. Many of these stage frocks, which are having so pronounced an influence on all fashions, were designed by this great dressmaker. Gray, too, is a favorite color for satin frocks. One of these gray dresses Is made almost exactly like a redingote, which is worn over an overdress of gray georgette crepe. The coat is slashed at the side to reveal the underskirt. Three-Piece Bult, Hem of Lace. Mme. Jenny is not the only designer who does nnnsual things to hems. Bnlloz has introduced the lace hem. He used it with good effect on a black suit, which is accompanied by a long accordion plaited cape. Both the cape and skirt have this remarkable hem, which is formed by inserting scalloped lace, the irregular side of the lace going toward the top of the gai> ment. It is a three-piece suit, the third piece being a blouse of whit® brocaded silk. It is, of course, a typical formal afternoon costume. It Is Interesting to note that these three-piece costumes are even more pronounced for .spring than they were for autumn. Women delight in threepiece affairs as offering a great advantage over the old-time suit consisting of a skirt and coat oily, which had to be completed by a blouse picked up at random and which did not always make a good-looking dress when the coat was removed. Among the practical suits carrying out this idea are those consisting of a simple dress and a somewhat long coat rather on the order of a redingote. These are not always made of doth; silk features prominently in these new costumes for spring. Evening dresses are not quite ad prominent in the new showings of clothes as they were in those of last season. While the elaborate evening dress is not In such general use as the short skirted dancing frock, the Paris dressmaker feds the necessity of including in her collection very dressy and extrteme models devdoped in handsome brocades. Hats From Paris Paris is experiencing a veritable craze far embroidered hats, which may be made of almost any fabric, with the embroidery of raffia, artificial silk or metal threads. It Is very smart to have an embroidered puree exactly matching the hat. The raffla embroidery is effectively used on the underbrim of hats as a means of introducing a becoming bit of color as well as an Idea that is entirely new. The latest novelty is to use cellophane as the foundation for the embroidery. This highly glased composition has taken stojm As> tissue is interesting, but without or- . »_ n — Allfftflih lift KftfMM i —■—— —

Street Dress of Blue Cashmere Berge Embroidered With Red and Copper Colored Threads and Dyed Raffia Strand*. „ . , *