The Effect of the War on American Fashions

The popularity of the crinoline hangs in the balance. The war is stifling Parisian news and it will probably be up to American dressmakers, wheter they follow the lines set by Poiret, Doucet, and many other French houses before the war depleted their ranks, or whether it will be a period of American creations designed for American women. It is an ill wind truly that blows no one some good, and this terrible conflict abroad may mean the uprising of dominating American styles!
The arrival of wider and fuller skirts cannot be denied, and many of them are held out by a heavy cord in the hem. Then there is the long, full, tunic, often made of lace with a tighter underskirt below. Around the edge of the tunic are wreaths of artificial roses. The waist is of lace or tulle and the line of the low neck is outlined by these same roses.

The 1870 style of bodice which is so stylish now is almost always seen sleeveless. It has a long waistline and a strap over the shoulder. This waist conforms more to the figure than the waists of a few months ago and has a lining of chiffon or very light weight silk. A striking gown of this type, which I have just seen, was made of very dark blue soft silk. The straps which went over the shoulders were not applied but were one with the dress and so wide that they droped well over the shoulder. About the round cut decollete neck was an inch-wide beaded band of jet. The sleeveless armhole had a band of beaded insertion, composed of a series of long bugles placed crosswise, with a small bead on either end at the edge. A six-inch be3aded girdle encircled the waist, drooping well over the hips. The skirt had a long and plain tunic, slightly fulled at thewaist. Just below this was noticeable a tight-fitting underskirt.

The modern crinoline dress is indeed paradoxical when one thinks that although skirts seem fuller there is always a tight skirt underneath. In fact, in one of the late French magazines was shown a wonderful gown of sheerest pale pink organdy, and showing through was the figure swathed from waist to ankle.

The materials for fall suits include broadcloth, gabardine, eserge, prunella cloth and a new heavy cashmere. These materials are also used for dresses, as shown in my first illustration, which is made of plain dark blue serge and novelty blue serge with a fine stripe of white upon it. The two materials are combined charmingly. Sleeves and double dircular bands are of the plain serge whie the lower part of waist and skirt is of the stripes. Dainty collar and pointed cuffs of linen are charmingly [unclear] at the corners with a floral design, adding a feminine touch of daintiness. A large flat sailor shape, called by the Parisians "Canotier," is worn with this costume.

The wide flat trimmed sailor is the hat of the moment. It is flat with a large, round, low crown. It is made of straw, taffeta or velvet and trimmed wimply with a rose, a quill, or a snappy bow. The shape itself is suitable for as many diverse occasions as its trimming, or the material used in its making.

The next illustration is of a model in brown grosgrain taffeta, which is both new and smart. The waist is made with an overwaist which has a rippling cape in the back. This is work over a plain waist which buttons down the front. A tunic, tucked in groups of three around the waist, is worn over a tighter underskirt of striped taffeta, while a wide sash of striped taffeta ties with a large bow just below the cape in the back.

For winter suits and separate coats the pile fabrics, such as velvet, plush and the many imitationfur cloths, are most fashionable. For the very dressy afternoon costume a delicate pile material, combined with velvet or with a chenile striped fabric, is stunning The basic material for these stripes is usually chiffon or soft satin.

Lace will be sued this fall on afternoon as well as evening gowns. White or creme lace tunics over black are very good and often worn with the fashionable basque waist of satin, or velvet. Net with satin or velvet bands are, also, smart and used in the same way wheter in black or white.

The style of wearing the hair is decidedly changed from last season when the ears and line of the hair on the neck and brow was invisible, but now the hair is combed straight from the back of th ears, leaving the ears exposed. To be absolutely correct in Paris, the hair should be drawn away from the forehead, leaving it perfectly bare. Another way becoming to the woman with a high forehead is to have the hair parted on one side, not waved at all, but drawn back from the face with a light, straight fringed bang falling over the forehead. The hair must show a h igh sheen in these new modes of wearing the hair, which only comes from constant good care and much brushing. This style is called "au naturel."