Arizona state miner., 1925-11-21
Silhouettes That
Are in Linelight

either the flare or circular cut on his
robes du sOir, concentrates fullness
below the knees.
Jean Patou, on the other hand, in
augurates the distended effect above
the knees. Lucien Lelong, apostle of
the kinetic Silhouette employs a
tucked flounce which has it's origin
above the knees and which flares wide
ly and suddenly. The nodded bodice
is Paul POiretS contribution, and it's
exceptionally high waistline overshad-
Ows the moderate skirt fare. And
there is the cape-back f1arlng from
shoulder or hips-from the former in
this instance -characteristically eXem.
plified in Chanel model of black nous
seline de sole. Even the old order is
represented in the straight-line street
dresses of PAtou and MOlyneux. If
you will add to these themes the
back flare, the bolero effect, the hustle
drape. the jacket ensemble and the
princess outline, you will have fairly
complete catalogue of the broadening
methods Of the new silhOuettes.
Which of these various flares you
select for your own is not Of great
consequence. 1t is important to re-
member, though, that the flare in
creases in width and significance as
the day grows older. The informal
morning frock may be quite straight,
the street dress should preferably
flare in a moderate manner, formal aft
ernoon clothes must always broaden
distinctly and without compromise
while the evening mode should climax
its new elaboration by the widest OF
possible flares. The flare. in a word,
runs clOckwiSe.
Welcome WaistIine.
There was lot of early-season
skeptfcism concerning the clearly
marked Waistline and even now that
prodigal stranger is little uncertain
of his welcome. But any one who has
seen the attractive models which stress
the waistline will doubt no more. In
our own opinion it is the most esthet-
ic theme in the new fall and winter
mode. On the young it creates an i'm
preston of enervating youth, doubly
welcome after these banal years OF
sophisticated tubularity, while for the
matrOn it substitutes graceful nat
ural line for the imposed pencil sill
houette. The waistline has threatened
TO return so often that it sounds like
another cry of wolf to predict, it again.
This time, however, the wolf is real
Iy at the door-the distinctly defined
waistline has its place in every chic
wardrobe of autumn and winter, and
it's return means that the fiat-chested
woman is no more as far as the Paris
mode is concerned. Apart from the
simple two-piece jumper suit, which
still permits the straight line, the fig
ure is clearly defined in all of the lat
est models This is one Of the logical
developments of the higher waistline
AS the waistline creeps up it arrives
at a point where the natural body
curves in, and so the corsage above
it must mold the figure in order to
look in keeping.
OGNO1dl VI lIlG lIOSI ldluOuS lsOuSCS
are using the Waistline that is fairly
low on the hips at the back and slopes
up in front to finish in the center with
a jeWeled motif or buckle. With this
line the skirt below usually has a full
flare at the front and sides This
silhouette is particularly approved by
Lucien Lelong, who fits in with his
outline. The front and side flares are
used with impartiality by this house
and several others, while still others
favor all-round gOdets or a group of
plaits or other kind of fullness at
the back to give the new back flare
that forms the bird-like silhouette
sponsored by Premet, Martial ct Ar
mand and some of the more conserv-
ative houses.