The New York herald., 1922-09-24
Appearance Obtained by Pro-
nounced Blousing Of Short
Coats in the Back.
Copyright. 1922. by Vogue. New York.

COpyriBHt. lJSS, Dy vogue, new 1Ork
A n amusing suggestion of the
~ 1880 period is given in Paris by
= some of the models in the col
lection of Madeleine & Madeleine,
though on the whole a very sober,
dignified line prevails. The hustle sug-
gestion is obtained by blousing the
back of a short coat very much and
letting the blouse part finish in gathers
or group of pleats under the arm at
each side, so that the front remains
quite fiat and plain. Worn over a
straight skirt this very bloused. puffed
back is remotely reminiscent of the
famous hustle mode, revived too liter
ally and, therefore, completely unsuc-
cessfully, two years ago.
The effect is seen in several tailored
models. one OF them with jacket of
gray and red veours de Smyrne and
skirt OF plain gray. while another has
q little bloused coat OF erminc and a
perfectly circular skirt of white kasha.
In general, however, the silhouette for
the street is extremely straight. some
y times quite unbroken from neck to heels,
sometimes with a bit of suppleness OBJ
tanned by godet insert at one side or
a circular apron piece in front.
The tailleurs often have Jackets of
rather long hip length. the top part
fitted to the body. with some fare at
the hips. The waist line in these coats
Is at It's natural place but for the other
models 1t remains at the commencement
of the hip unless 1t Is absent altogether,
the gown cut In one from the shoulders.
The unsymmetrical effect which Is
found in several collections Gin the bias
cape backs at Martial & Armand's. for
example or in the off one should er
decollete at Poiret's) is found here in
the uneven fronts of the jackets, one OF
them being longer than the other. Capes,
too. are often one sided, very ample.
falling from large fur collars. with
fur trimmed sleeve on one side only and
the other arm covered by the fall OF the
material. Other tailleurs drape across
the front and have ties of the material
itself on one side.
For afternoon the circular skirt rivals
the draped. Crepe remains "a favorite
material, and there are several models
in lace and satin. The laces are all
fine patterned ones as Vogue predicted
In the forecast number. they have super
seeded the large patterned silk varieties
Many afternoon models are three piece,
a handsome coat completing a gown.
One model has a sleeveless coat OF Hud-
son seal over a gown of gold lame ana
fur. The top of the gown and the I'M
mense fur banded sleeves are of the
gold and the skirt is of fur. Several
fur coats have these immense metal
lame sleeves, with a suggestion about
then, OF the Venetian Ball at the Opera
Great capes of velvet are lined with FUR.
Fur Innings are having much sue
cess: Molyneux shows them in re-
versible capes for daytime wear; Jenny
lines her short paletot coats with lamb
dyed to match the cloth Lelong shows
three-quarter capes of velvet lined with
imitation ernine and long ones with
squirrel, while Beer has "a great even
ing cape of black velvet lined with gray
squirrel, which may be worn either side
out, and Chanel makes her famous
sweaters in wool Jersey and lines them
with real furs.
Evening gowns are all draped and
are OF velvet lame, or silk crepe. Free
auently a tight. swathed foundation Is
used with we'll handled draperies placed
over It, Many OF the draperies are In
sfyred by the Greek. Sometimes all
the fullness is massed at the front. A
lovely evening gown is OF blue mauve
crepe, entirely embroidered in great
petals OF shaded paillettes, outlined with
line Of strass.
Materials include velvet, broadcloth,
self-fnished woolens, satin broche mate
lasse fabrics and fine laces. Colors for
daytime are black. brown, navy with
some greens and white for night.