Worcester Democrat and the ledger-enterprise. (Pocomoke City, Md.) 1921-1953, 1926-12-18

tOdU INOSNVVOs
and cuffs Of novelty fur in two shades
Of gray. In these three-piece suits, as
they are called, the coat is invariably
made without formal fastening, as
in the coats that are intended to be
used as separate wraps. The short
coat and the bolero, each part Of
the suit, give an appearance of COM
plete costume that fills admirably the
interim between the fall and winter
styles. DrecOll, who has always done
clever things with the bOlero, Is pre-
senting this season smart version
of the two-piece frOck, introducing I'M
der straight-cut Jacket waistcoat
that ends In u girdle drawn about the
hips upward to the middle Of the back,
where It Is fastened with diagonally
crossed lines. The suit Is made Of
black velvet, severely plain except In
front, where the skirt is laid In four
box piaIts. The waistcoat IL Of pink
satin, making the fashionable color
contrast, and full long scarf Of
black fox is shown with the ensemble,
The Straight Line.
Another silhouette emphasizes the
seasons styles of straight line, the
bodice ending ut the knees. This Is a
late Interpretation Of the jumper suit
in which the skirt presents the ap-
pearance Of flounce, plated all
around or in u cluster in front. Sleeves
are long and plain or full gathered,
and collars are of several designs.
One is the youthful soft Elton, the
round or oval revers, and the turtle,
with erect band of material and era
vat ends. Most all of the gowns,
especially the softly tailored models,
have some sort of scarf tie attached
at the neck, but as part of the dress.
The separate scarf of crepe or chiffon
is being replaced by the fur piece or
ostrich bOa.
A lovely afternoon costume from
the Lanvin atelier illustrates move
ment considered now modish, and the
vogue Of black velvet for afternoon.
In this particular model the softly
bloused bodice drops over the open
tunic, which Is lifted directly In front
over a tight, straight skirt. A sash
Of the velvet is tied about the low
waistline, finished with bow and
long ends in the middle front. A naive
little turnover collar, deep cuffs and
tips on the sash-ends are made of pale
gray rabbit fur Martial ct Armand
are going in strong for both the lifted
front drapery and the blouse effect in
bodice, establishing some modes that
are decidedly out Of the ordinary,
especially in an afternoon dress in
which they combine two materials.
A revival in fashions is the dOlman,
now adapted to the bodice of
gown, and especially good in the after
noon costume. There is suggestion
of the kimone in the lines, voluminous
and supple, with the wide dOlman con-
| trasting to the drapery tightly swath-
| ing the figure, with the fullness swung
toward the front and lifted.
A dolman gown in which the full
upper part contrasts strikingly to the
| slim effect of the drapery is done in
myrtle green velvet and bengaline,
with mink tails trimming the sleeves
| at the wrists. and added in cluster
! of three at the back of the neck. The
two new features. the dolmm bodice
and the lifted line IN front drupery,
are shown togethe: in some of the
latest models.
| In one from Martial ct Armand the
blouse Is draped at the back In baggy
fullness over the girdle. which Is
| pulled up sharply to the middle of the
front and finished with an ornament.
This particular afternoon costume Is
built of soft brown zibeline. and the
belt of the cloth. stitched. is fastened
with a clasp of FURNISHED Burmese
! gold.