The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-08-29
New Models Charming, but Few Offer
Any Reactionary Changes, Many
Standing for Dignity and Grace

models-and there are more than q
few Of them-one Is conscious Of q
longer waist line. a gentle curve,
limited at. II not aggressive.
The waist is not Of necessity small.
In many new models It IL large. but
the suggestion Of sloppiness Is gone.
Very often the front and back are
quite straight while on the sides one
gets the impression of waist curve
and skirt flare. This idea has been
exploited more or less for a year past.
but has evidently found favor with
the French designers and is much in
evidence. There Is even in many OF
TIE new frocks and suits a pro-
nounced accent upon the hips. Big
hips the modish woman must not
have, but her new frock may give an
impression of large hips. Loosely or
trinity belted coats Of moderate
length may mare into self-assertive
fulness on the sides below the belt.
Skirts, straight falling in front and
back may take on fan ~plaitlngs or
other pronounced fulness at the sides.
Short fiaring aprons. peplums, iounces
may u around the skirt tops. ex-
tending the hip line. But all this is
not necessary IL 1t is not becoming.
and though the lowered waist line
and any degree of waist curve neces-
sarily brings the hips more promi-
nently into the picture than Toes the
shortened waist line and uncuryed
waist the frock need not be curved
enough to accentuate the hips unduly.
The purple velvet of our sketch
illustrates his adaptability. Here we
have the definitely lowered waistline
and the plainly indicated waist and
hip curve, but so loosely and softly
does the frock fall over the corset.
so gentle Is the insistence upon the
new silhouette hat almost any decent
figure would look well in the model
The cordings Of the velvet which de-
fine the waist around back and sides
but fall In the front to knot loosely
and low d to the impression OF long
and graceful lines, despite the curved
waist. and the absence of trimmings
also contributes to the becoming sug-
gestion of length. The unbroken
shoulder and arm line OF the carefully
cut chiffon sleeve Is becoming too. and
n finds many OF THESE adopted XII
mono sleeves in the latest importa-
tons. They are undoubtedly more
graceful and becoming than the set-in
sleeve n have altogether lost the
kimono bagginess. SO wherever two
materials are used in everybody ar
rangement this seamless shoulder
sleeve is likely to he introduced. and
even among the suits clever cutting
often eliminates the shoulder seam
ducing an effect OF bagginess or a
broad shoulder line.
The dropped shoulder line. with
shoulder cut in one with bodice top.
Is another compromise often accepted.
and occasionally the sleeve attached
TO this low shoulder is full to wrist
or below the elbow. but more often
1t is merely Joined TO the shoulder by
a Hat seam.
A pretty new model in black satin
and black panne velvet has this
dropped shoulder on a simple bodice
OF the satin, and long but not too
close sleeves OF the satin continue
the line To the wrist. where they are
held by narrow cuffs of ermine. A
white satin collar. low in front and
rolling up against the neck in the
back, has a narrow border of ermine
and Is finished in front by "a little
ermine head and tails. over this
satin bodice rise biblike sections of
velvet, in a fashion long familiar, but
the waist is snugly Eirdled with velvet
n a short velvet peplum flares very
saucily around sides and back, giving
width to the hip line. The skirt flares
gradually and is fullest at the sides,
its upper part being of satin while
from h knees down IL Is Of velvet.
This is II of the ladies' frocks
noted above, simple, unconspicuous,
elegant of materials, graceful of line
and obviously of the season without
being in any way ultra. incidentally,
like all of the combination frocks, It
offers good suggestions for making
over handsome material of scant
quantity.
There are many Of these new after
noon frocks for which two materials