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Tax DAILY. » TIMES i New Paths Are Opened To the Fashion| Adventurer -- Current Themes Ave Limitless in Variety. BE are just beginning to realize the fact that there is a new era in dress, the result of a long period of gradual change, and every trend Is away from war-time sim- plicity and severity, toward peace- time simplicity and formal luxury. Social life is no longer haphazard, but a very definite thing, making ts Insistent demands upon the vardrobe, and proving critical of he manner in which those de- mands are met, As demands increase we are of- fered variety, for without it there can be nothing of the individuality that has become so Important, Someone has sald that the new need has launched a thousand themes, and from them we must choose, not ohly the thing appro- priate to our needs, but to our personality, Certain rules must be obeyed, but there are other alds to this business of selection, and we must know, to use these alds. Advancement is apparent along many lines, and for the new 1028-9 winter season there are major fssues of importance, rendered more important by the multitude of minor issues. It is a process of adjustment to new condition, and means the solidification of a new fashion Influence that is effecting everything with which it comes in contact, and working, gradually, toward what seems to be a better- ment of general fashion conditions. The Ensemble, A True Basis At no time is the idea of the ensemble, as an underlying prin. ciple of dress, absent from the mind of the designer, nor should it be, from the mind of the woman of fashion, We speak of major and minor ensembles, concrete ex- pressions , of the theme, but its general characteristics of harmony, balance, and an odd sort of assymetry that 1s, nevertheless, symmetrical, are the warp of the general pattern of the mode, Possibilities of individuality are limitless, even with this basic idea a ready-made foundation upon which to build. This is made true by materials, colors and details, both of line and y, that houette situation. We are not quite sure just what the flare is going to do--climb higher -- it has just | dropped--or slip downward and out, completely. But we know that nothing holds to the same position indefinitely. The molded hipline will be re- tained, both as a part of the sil- houette known as the '"fit-and-+ flare," and the newer princesse development. But you will notice that in the very newest models the fitted hip has a normal walstline, that is, its upper line begins at the normal waist. The fitted effect is most generally becoming, and it may be looked upon as a sort of compromise, proving very general- ly becoming, The New Princesse Effect This is the fit-and-flare silhouette that bears only a faint resemblance to the old-time princesse dress. In essentials it may be the same, but there are so many details to modify essentials, and those details are so very modern, that we almost lose sight cf the beginnings. tiers, bandings and many offerings of the irregular hemline have their effect upon it, making it a logical part of the mode of today, It is typical of this season to have the coat follow the same lines as the frock with which it is worn, resulting in what designers call "twin silhouettes." It will be re- membered that the coat has been | a bit reluctant to leave its con- servative straightness of line, and has, apparently, ignored the newer flared skirts and irregular hems. In a way, this has seemed to be a defiant 'attitude toward the en- semble theme, But there is no denying the ruthl of this jal theme, and in the fall showings there were many costumes that proved con- clusively that individuality of sil- houette no longer existed. The frock with fulness at the sides, in back, or in front, was compie- mented with a coat that found some way, usually a subtle one, of repeating the fulness and the placement of it. But such costumes Pancls, | ET -- === | | - |are stamped with the year and the | season. Major Issues In Minoy Details | Fabries stress tweed, jersey, Ihroadcloth and cashmere in the | wools; plain and printed velvets, |satin and lace in the finer materials, Much attention is given the new rayon velvets, satins, tweeds and jerseys. Colors stress brewn and the heige tones, some lovely new blues, the reds in pale tones and In the deeper wine shades, and black, the latter smartest whep accented with some gay cclor--it will be a colorful winter. Skirts are from two inches helow the knees, the downward trend. will. continue its elaboration, the V-line Important, and manipula- tions of the scarf a feature, ve- ning dress stresses the very low decolletage, not only In front, but in back. Bleeves will be elaborate, and the trimming effects will be applied below the elbow--width, lunusual cuffs, and the use of con- trasting fabrics will be features. Millinery Shows Individuality The new hats for fall continue the poke shapes of late summer and many clever cloches, but the brimless hat, or the one that slashes its brim and turns it back [in some original way, are the fav. |orites. There Is individuality in the flared brim, if one can stand an off-the-face effect, and the beret is being offered in so many styles that it proves most interesting. Plush is a new hat material, and is very smart. Footwear makes color the major issue, not new, for summer featured it most gorgeously, but new to a winter mode, just the same. Again, the ensemble is responsible, for it found that correct color effects could not be achieved when the choice was limited to brown, black, white apd gray. Blue, green, red, in many shades, make the completion of a color ensemble a certainty, and it is a step in the right direction. to three proving The neckline keep to general principles, but differ radically enough to achleve the purpose in mind in a personal interpretation. It should be borne in mind that this idea governs type, as well as the use of materials, colors and lines. (By the latter fis meant trimming lines as well as those of the silhouette.) There may be pothing of the formal, when the occasion calls for informality. Sports togs insist upon accessories in with their special type, and it is the same with the tallored town costume, afternoon or formal evening wear, There Are Several Silhouettes In the variety of the silhouettes oftered we see many evidences of femininity, a sort of changing of one's mind, so to speak, but done in the interests of variety. One may go even further and say that they are trying out several themes, leaving the decision to the public, but it all helps to make the mode interesting, and lend to the situa- tion a suspense that is not without purpose. Fashion 1s just a serial | story, anyway. The flare, lower than formerly, yet not a hemline the dominant characteristic, is issue of the sil- THE NEW O great a change is being : wrought in the temper of our fashions that the originators of each new season's mode feel called upon to offer an ex- planation of their undoubted pur- pose to stress formality, the fem- inine theme and elegance, the lat- ter "restrained," but very appar- ent. For one thing, they say that social life has again taken on all the characteristics of formality that the war caused to be dis- carded. Standards are set and conven- tions followed, and to meet the fashion needs of this mew era in social life there must be standards set and conventions followed in the apparel we select. One plays tennis, goes shopping, attends a luncheon and bridge, and ends the day with dinner and an evening |at the theater, or dancing. For {no two of the four occasions can she wear the same type of frock, wrap and accessories. This the smile. of course. in | ELEGANCE~ KEYNOTE where social life is the business of the day, but whether that be our lite or mot, it shapes the general fashions in which we share, And it follows logically that we arrange our wardrobe to include the types that best fit the life we lead, stress ing certain things to the exclusion of others, but sviuehow meeting every need. Fundames.. "v, adher- ence to type is a form «. '~oance, Every characteristic of .. ode of today contributes to this other characteristic--whether it be fem- inine details, formal requirements or the ensemble principle. When our sports clothes take on the niceties of line that now (typify them. and are made of fine fabri = {white oe and this new yarn is adding ny gance to elegance, making velvets and satins more attractive. Before jwe purchase a model we run the | fabric through our fingers, for | fabrics count more than any other | one thing, for they 'are, usually, trimmings as well. Subtle colors make for elegance, | and subtle color or fabric combina- | tions, the same. Ombre and com- | pose effects are factors---black, i= and gray 1s lovelier than | black and white, because the effect | is subtly conceived, likewise, it is different. And the new over-topes, | skillful blending of colors to create effect, add their bit to the general rule of restraint and beauty com- | bined, which is, again, elegance. Take the simplest sort of a "model," and atiempt to analyze it. The effect is one of richness and! sophisticated simplicity, vet it may | be a ite of a beautiful ma | in arresting colors, they become instantly possessed of elegance. We shall see that elegance fs. basically, t of the tials terial, subtly conceived lines, and arresting color, the combination | possible only to the originator. It Even our cotton cloths are besu- tiful, their cos! increasing as ele- gance is featured. We lke them when they possess the silky sheen of threads in their weave. to have been conceived with- | out effort, but it is a masterpiece Simplicity is beauty. but subtle, sophisticated simplicity is elegance. Flat furs, as supple as fabrics, Smopg them Persian lamb. broad- | fashions. | whether it daytime, {an outgrowth | signers, | and GOLD JEWELRY Gold jewelry is to be stressed for wear this fall, and will be a part of the sports and tailored modés. De- | signs will be simple, but incline to { the modernigtic. Evening will bring out lovely pieces that feature rhinestones, crystal and marcasite, "THE SUBTLE WAYS OF -- TRIMMINGS sentials little things are the of the mode, and is the same whether it be details of a frock--for venlence's sake we call them trim- mings, or the accessories that com- plete the costume. The of {applied trimmings---braid, buttons, | S es- it the econ- achieved provides trimming--there are quite us many are tastes. Brief illustrations will serve to show how Intriguing the! variety is, and Low effective a material can be elabbration. Tiers provide an example. are applied to the skirt in side panels und to form a flounce around the bottom of the skirt. Pleated hands are applied to the blouse, the bands repeating the {ounees, but incrusted, rather than free. The charm of this model lies in the fact that both tiers and bands follow a diagonal line. the neckline keeping to the same {movement and creating a vnu-sided | effect. Back fulness days They is another trim- ming theme and there Is a distinct tendency to apply decoration to the back of the blouse of the gar- | ment. cults rise trom skirt, meeting at [the center back. Again the width | lof the skirt is applied to a yoke, 'which may be pointed at the side, or in the back, or in front, De- | signers are doing a very great deal with the yoke. Flat hiplines, variously achieved, [the irregular hem, | plied in some clever way, all these {come in the category of trimmings, {and all make use of the fabric of | which the frock Is made, the sides of the the waistline In known as the "peacock," from its resemblance to a peacock's tall, {Now the dip is In a panel form, {and the line that was smart during | the season just finished is disap- pearing. There is a continued use |assymetric effects, and again fabric is the medium, It chieved | by bands, tucks, or a similar means, and points fail to meet, or a horizontal treatment {8 offset by a jvertical or diagonal! line on the i opposite side of the model. A deep {cohar of the bertha type Is pointed | form points on the opposite side, from the point cof the bertha. | This. too. is assymetr} {featured to the exelusi [Sues type, if we | i of or on one side, and incrusted bunds | Bearf peck arrovgements are n of every except the THE | | | tail and earacal--Yob may spell it with a *"k" if you prefer, lend elegance to velvet and broadcloth, if discreetly applied. A collar of lace or some lingerie material has the same effect, and thus effect is obtained. *The elegant model has {been termed a "single-thought" dress, an apparently effortless creation, following basic principles, but Pussessed of individuality. = ribbon and the various medius that were, at one time, employed, has passed, and subtle methods of elaboration have taken their place They deserve consideration. First in the list of these methods | we find Jine. We krow it to be al season of flares and fulness, and' the two ideas are handled in some! extremely Interesting ways. way that these 'two laces and precious stones are material. A formal costume, in the wardrobe, made possible by its pliability further trimming effects. The | themes are THE VOGUE OF THE JACKET sports mode, the clever little jacket is everywhere In our Some form of it is to be practically every type, be informal or formal or evening wear. It Is of the short-coated suit, but the latter was a long time with =us before this part of it proved an inspiration to the de- who now present it in many variations. All summer garment, nD: longer a prerogative of the found in we watched this worn in mapy ways, more especially. as a part of the sports mode. But certain designers have seized upon it as accessory to the sleeveless formal frock. making of presented in many forms | in a fon This fl the latter a more informal a) when worn with it. It served an | apprenticeship as a utility garment,' permitting one to dine very for- H mally, then go on to the theater in | an informal way. : There are now tore cvening| frocks with jackets than without, | and these gay little affairs are sold' separately, those of metal cloth or! lace proving very generally adapta-. ble. With chiffon one wears either, ! though many prefer lace. as worthy of attention. (5) An evening wrap in coral features, apart from its fabric, scarf collar. It is worn over combination, 'on it is a modified period wre far more modern, as, for velvet ribbon, in red, blue and with its uneven hemline. (7) »Stiff fabrics for e types as there! in the sorvice of | Flounces or tiers or circular | the flounce ap- | During ! {the summer we had the dip In back! > (destroyed gen- | (3) Contrasting plain velvet with a printed design, has the conservative simplicity that makes it a salued garment The frock is an affair of subtle drapings. (4) A beige cloth cout, trimmed with natural fynx, a unigue treatment of the circular flonnce that possess a flare, Is made up of sections. and the band of fur permits the hem edge to show. plests a side drapery and trails 2: to the floor. (8) Formal dinner gown of fine-mesh, silver lace, [erally becoming V-line. There are capes and boleros and odd little |bloused effects, all decorative, and (all to be grouped as trimmings, |And so far there has been no de- tail that called for dnything but the frock material. The same is |true, in many instances, of bows, a favored trim, but sometimes |using another material. | In our group of illustrations we {pave two afternoon ensembles, two levening costumes, and three wraps, {all formal, though planned for dif- | ferent occasions. Both of the aft- |ernoon ensembles use velvet, which [is sufficiently decorative for any | purpose, Buckles and ornaments |are approved for the velvet frock, land the draped model fastens the |drupe in an approved way, but {uses no other trimming but the one lornament, Une of the evening dresses finds {the moire of which It is made equal [to the oceasion, and molds it to [the figure in the suggestion of a {prince sse line, tlouncing the skirt land making the hemline irregular, Lace and velvet are luxury ma- (terials and combine satisfactorily, |but the model owes its charm to ithe two fabrics and the apparent simplicity of their combination, | Lines are important in this frock, | We always associate fur with the coat mode, so the afternoon model, and the evening wrap do not startle us. But the way the fur is applied is worth attention, for the head of the fox appears in | back, and the bow is placed there. {Color provides a trimming for the { moire wrap, three shades of coral heing used along with silver. Any other trimming would have wholly the effectiveness of the pattern. Belts and buckles and a moderate use of buttons will be found in the sportg and tailored groups, but even thie most exhaustive study of the new offerings will not change the fundamenta! principle that makes color, fabric and line the approved trimming mediums, A touck of lace on velvet, of velvet {on lace, or the combination of two !materlals. even there do not break {the general rule, subtlety in achieving effect. PICTURES (1) Every important designer is using velvet. wrap our attention is caught by the apparent neglect accorded the front of the garment, even the head on the fur collar watch. ing the path that lies back of it suggestion of an uneven, hem ne (2) Again velvet, and again the ubiguitops ensemble... Trans. parent selvet has no equal for beauty, usability and charm. clegance may he emphasized by a jeweled ornament, for fine in this eveping The scarf bow achieves a Is the logical companions of this The cont of fabric, and =ces no need of it features The sleeves are and sihver moire. Its smartest ure the deep cavalier cuffs and a frock of white satin, which It is an affective in concep. model, but it combines features that instance, the cape. A sash of green, falls over the full skirt 24 kindred fabric. Metal is appropri- ate to velvet and satin and sitk-- (|i one instantly secs the possibilities | that result from the featuring of | this garment. The idea came to] us from France. | the droopibg end. » say Fi atin and taffeta (0 the fore, but in a amdificd, pliable weaye. There is consummate art in the drape of this mode] with fits surplice front and its flat, single-loop bow. The hemline balances This brings moire,