The L'Anse sentinel., 1923-01-12

Front and Back of the Skirt.
pondent in the New York Tribune, she
again demonstrates her genius in OBJ
tanning maximum effect from mini
mum decoration.
Complicated cut with an ultimate
line of great simplicity is still main
tained. The flying panel, which she
uses so much now, ornaments the mid
die Of the back or the front of the
dress and no longer appears on the
sides. Sometimes it appears on both
the front and back as In dinner dress.
1t Is developed from white crepe de
chine. A cabochon made of brilliants
and pearls ornaments both the front
and back Of the dress at the waistline.
Generally speaking sleeves are mar
row, some of them being quite tight
fitting; others are close at the shoul-
ders and widen little on the way
down to the wrist. Some are cut very
wide at the armhole and are so shaped
as to snugly encircle the wrist.
A simple cloth dress from vionnet
has large, loose kimono sleeves cut in
with the bodice. From the armholes
t. the waistline the sleeves are shaped
to close-fitting line at the wrist. The
skirt is cut in the form of two large
petals. one overlapping the other. A
heavy embroidery in floral pattern Is
incrusted on the inside of the sleeves
and a big flower of the cloth with its
t..Ie mil ,lNrot In
tones of green, blue and pink gives a
rather daring touch of color.
Cape Collar in Jabot Form.
The wide squarecut handkerchief
sleeve Is again seen. with a small
Undersleeve forming semi-narrow
cuff usually In contrasting color. The
long, angel sleeve in modified form is
also Is evident.
Vionnet has many little cape effects
and curious cape collars which are a
part of the sleeve or the back Of the
dress. A typical model OF this sort
has an interestingly cut jacket in short
belted style and has waistline shoul-
der cape which Is part Of the tight
fitting, full-length sleeve. 1t is accom-
panied by perfectly plain skirt. A
novel feature is white ermine collar
in jabot form, which Is in striking con-
trast to the black velvet.
distinctly new feature is the jabot
collar and frill, usually developed In
fur. One finds this on tailor-made
dresses, on fur coats and on afternoon
dresses of crepe de chine and satin.
Sometimes the jabot frill Is so deep
as to appear like shoulder cape when
turned down, but when up and draped
around the neck 1t forms frilly jabot-
like collar.
A street dress Of this character is
In chemise form. developed In brick
red velours de laine inset with dIa-
mond-shaped pieces of duvetyn In the
same dull gray of the cape. which is
of gray astrakhan.
Dancing Frocks Feature PetaIed Skirt.
Another curious novelty Is shoul-
der extension In the shape Of an
enormous scarf, which. starting from
the point where the shoulder seams
might be. is continuous cut from
the front of the gown. These long
ends hang over the back Of the gar
ment in swinging scarf ends about
three-quarters of yard wide- and
reach to the hem OF the skirt. Some
times these scarf, ends are crossed at
the back. In which case they form a
muffiing collar and cape wrap.
vionnet does not use the, exagger-
ated length in skirts. Practically all
her skirts are well above the ankles.
and, generally speaking. they are mar
row. The large petaled skirt Is a
marked feature Of her dancing frocks.
Not few of vionnet's dresses have
he almost straight skirt A new form