The New York herald., 1922-10-08
Cold Weather Costumes Leave
Good Deal of License for
Selections.
copyrIght. leee. By vogus. :New Yorl.

~ the winter cOllectioHs. leaves
rs a good deal of license this
gear. We may adopt some version of
tho three piece costumes. which have
been made in rich, fur trimmed ma
terials by almost every house. or a
frock. either of equally rich or of soft
and drapable materials. The three
piece costume may have coat of any
known length. from the short bolero
to the long model which completely
covers the gown designed to 30 with it.
Sometimes the coat is of the same
material as the gown, sometimes Of
quite different fabric, sometimes of
fur. Quite frequently it is not a coat
at all, but cape, which, also, may be
of any length one chooses. Velvet
and velveteen are used by every house
for these costumes. while heavy satins,
often of the fulgurant variety the
matelasse materials. silk brooches, and
the heaviest weaves of silk crepes are
also favorites for them. Sometimes
the COWS are of matching material,
but just as often they are of thinner
fabrics. perhaps combined with the
material of the outer garment. Here
and there we find an unusual COM
bination, such as tho Cher-uit model
which uses a pale gold "ruissellor,"
from Rodier, for long coat, bordered
with a fiat band of odd beige fur. re-
Il,
aquamarine green crepe de chine,
which makes the completing frock.
Matches Fur.
This coat is long enough to cover
completely the gown, but there is an
other Cheruit model in which the short
palelot coat Is of green gold "rl.ssellor''
bordered all round with gray squirrel
and worn o. er a gray velvet dress. with
touches of green gold about it, but match
ing the fur in tone. Oehe~ houses use
suede for the coats of these ensembles;
still others make the coat of figured ma
terial and the dress underneath of plain |;
while. again. short coat of fur is worn
over fur trimmed frock, or the entire
costume, skirt and coat, may be made
of fur--mole. broadtail or caracul being
favorites-while the blouse is Of some
thin matching fabric like crepe geor-
gette.
We find rocks of this type complet-
ing costur s of which the jackets are
on the blouse model or OF the straight,
hip or finger tip length design. When the
completing coat is three-Tuarter o. full
length the frock under 1t is more apt
to be designed as whole, either of
crepe de Chine, or some still thinner
fabric, or of velvet (the seasons great
favorite), or of the material Of the coat
combined with something thinner. like
georgette crepe. Some of the new
matelasse and cloky materials, and even
the gold and silver lanes, are often used
in this way in combination with somber
outer garments.
In addition to the three piece cos
tunes, we have very handsome coat
dresses this season. which are really too
gorgeous to be worn i'll the morning.
Jenny has series of them in velvet or
velours de Smyrne. the silhouette very
straight and narrow, the colors dark,
the fur trimmings heavy and rich. Two
models, one in green velours de Smyrne
and the other in green velveteen, are
both on this plan. They fasten over at
one side with fur buttons or fur frogs.
are collared cuffed ard banded at the
hem with rich brown fur. and illustrate
that version of the new silhouette which
is as straight as a string and weighted
with trimming at the narrow hem. Both
these models are completed with large
muffs. Others employ some OF the new
matelasse materials Cheruit takes gor-
geous, brilliant velvets. drapes them to
one side and adds old furs, an imitation
chinchilla, which Is really rat, gazelle
or dyed tiger. the color taking only on
the white fur Lanvin shows the straight.
slender coat dress, with heavy band
of fur at the hem or perhaps "bour-
relet," or stuffed roll of the material. at
the collar and at the hem. often en-
broidered. Others, again, have note
of the picturesque which we have missed
from the daytime mode for long time.
Afternoon Coats Elaborate.
Afternoon coats are really elaborate
and recall the visiting toilettes" of our
mothers more formal existence. The
cape disputes popularity with the coat
In this connection, either to complete
frock or as n separate wrap. In the lat
ter case, 1t is often of velvet lined with
fur. and may be worn either side out
The cape is often bloused.
Afternoon dresses are varied IN
type and illustrate in themselves the
three silhouettes a In mode. There is the
straight, slender frock frequently Of
velvet narrow about the feet and often
trimmed with fur. These gowns mold
the figure. nave lOIlE llbll SittNtS NOii-
ing we'll over the hand. and frequently
high collars. sometimes of fur. They
make us think of the Bastien Lepage
portrait of Sarah Bernhardt in the
gown called "Gaine." Some predict that
this Is the type which will be most
adopted by the smart woman of 1922
When thinner materials are used there is
fullness about the model and 1t is almost
invariably concentrated in the front.
Every house has used some version of
the full aporn front with the exagger-
atedly tight back. which Jenny first gave
to the mode in her midseason collection
r. Is In these models, showing fulness in
front that the circular cut and the
godets. achieved in various ways, find
their place. for the robe a godets" forms
the second silhouette of the new season.
They are used In an infinite variety OF
fashions, obtained by draplng. by cir
cular cutting. by insetting into material
and by cutting off the frock at the
knees and ending i'm a frill. Cheruit uses
again her frill at the knees every house
I'm Paris pulls the material round the
figure and concentrates the fulness on
one hip In great godet fold. The cir
cular frill. falling by its cut into godet
pleats, is placed in every position that It
is possible for frill TO be in at the
knees, In front only or running all the
way round, across the hack OF the knees
~. q H. A.