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Season's Styles?
Clara Kimball Young can tell you how.
Photos by Aime Dupont Studios PIIIIIIIIIIIIIIIIIIU
opposite page. It is of silk duvetyne, and is made on perfectly straight lines, loosely belted in at the waist. Braiding, lavishly used both on waist and skirt, forms the only trimming, save for the tiny buttons of the material which ornament the strips at the sides of the skirt and the outside of the sleeves. The wing in the modified tricorne hat which she wears with this gown is of pale yellow, which gives the costume the striking color note which it needs, and is most effective.
A frock that is made on the fashionable straight lines is shown on the opposite page, and is made of a material whose alternating heavy and thin stripes is much worn in Paris just now. The neckline is very good, and is edged, as are the sides of the blouse, with narrow jet bands, which also form the girdle. The stripes run crosswise on the skirt only in front and back ; the danger of getting too broad an effect is avoided by having them run lengthwise on the side panels.
"I'm trying out a new designer," Miss Young told us that noon, "and this gown, meant for matinees and all that sort of thing, is proof that she knows what I need. Like it?"
We did. It was of black chiffon velvet, trimmed with narrow bands of fur and with braiding; the chiffon sleeves had cuffs of the braided velvet, and bands of embroidered lace, the latter set under the chiffon. The waist was made with a richly embroidered vest effect, and the skirt had the fashionable distended hip line, the points being low enough to eliminate too great width. With this gown Miss Youngwas wearing a closefitting hat trimmed with grapes and autumn leaves, whose colorings were of the predominating tones of the embroidery.
"But it's evening gowns I love most to plan," she declared in the midst of our discussion of clothes. "And now that trains are really back — only you can't say they're back when they come from the front of the waistline, as one did that I saw yesterday — I like them better than ever. You see, I like dignity in my clothes, and with evening gowns shorter even than street frocks you simply have to have length somewhere."
So she chose one that had it in the train, which could be caught up over one arm when she wanted to dance. The backless effect was in evi
Sometimes a strip of embroidery, like the one on this skirt, is really the most important thing about a costume.
The lines of the embroidery and the straps on the skirt are worth noting here.
dence, as was also the bouffant hip, achieved by the use of tulle drapery. With it she carried a feather fan matching the tulle in color.
"And now I've looked at all these things, and I still want to know how you work out 3^our second theory about dressing." I told her finally. "The one about dressing to hide one's worst feature."
"Well " She hesitated laughingly.
"If my gowns hide mine so successfully I shan't tell what it is."