The Ely miner. [volume] (Ely, Minn.) 1895-1986, 1920-12-17

for this suit, and the pointed edge
panels, which extend below the edge
of both jacket and skirt, are embroi-
dered in gray. The gray embroidery
also appears on the narrow cuff bands.
The one-button closing is extensively
used by this firm as fastening for
suit jackets. The vest and high col
lar are of squirrel. The skirt is short
and narrow.
Wider sleeves are In evidence. Ever
so many are loose and flowing. The
bell-shaped three-quarters length is
very much liked. The long, straight,
full coat sleeves, with deep embroi-
deries, which were so much a feature
of last seasons collections, still are
seen.
Bulloz, who is noted for his beau
tiful suits, makes jackets which are
straight. loosely belted and Of me-
dunn length, loosely belted with two
inch belt, which is twisted and passes
across the center front, where it but
tons. The ends Of the belt, which
widen gradually to about eight inches,
fall to the bottom Of the skirt. The
skirt is embroidered all over with
enormous taupe plush roses. These
roses reappear on the jacket at the
hips and on the collar.
Tight Skirts, Coat to Knees.
Another interesting idea is the MAX
ing Of belt, six inches in width,
which folds over the center front in
one piece with the back panel Of the
jacket.
Still another suit of blue serge
shows a very tight skirt and knee
length coat, which is tremendously
full in the skirt. This fullnesS is let
in at the hips and held out at the
hem by means Of bands and ruching
Of the serge. The high collar is
made of an immense serge ruche.
Bulloz's collars are of exaggerated
height on both dresses and suits. Soft
fur collars on suits come literally
above the nose, so that the eyes just
peep over the edge.
A model of interest shows a cord
lacing at the back from the top of the
HlSH COlIdT W Tie sWucT6 IL
ties in bow with streamers.
No special note has been made of
the materials used in suits, because
there is nothing strikingly new in
them. We have previously noted the
use of broadcloth and other old-fash-
toned, smooth-fnished cloths. OF
course. there is any amount of velours
de laine and duvetyn, with the chevi-
OTIS and striped woolens for the more
strictly tailored suits.
Colors are rather somber Black,
brown and gray are in the lead. With
the use of gray for suits, seal has be-
come even more popular, because it
makes such beautiful contrast to the
soft gray cloth, as well as following
the vogue for gray and black.
Bulloz has successfully launched
some splendid coats made of cloth,
with fur trimming, notably in con-
binations of gray. velours de laine
and sealskin fur.
Many brown furs, which are very
beautiful in themselves, could not be
considered for use with gray. White
furs are used in connection with
black cloth. White skunk is used in
the form of enormous collars and cuffs
worked in vertical lines on beauti-
fully brocaded evening coats.
The different feelings toward the
use of trimming, as evinced by the
different dressmakers, is interesting.
Some use it sparingly, and others
lavishIy. Those who favor its extern
sive use employ it in the form OF
large collars and cuffs, and for both
deep bands and narrow edgings.
Cheruit is one great designer VINO
favors fur. Callot, another author
ity, uses it sparingly. So we may
please ourselves as to whether we
shall wear fur or not and also con-
suit our pocketbooks.