Evening star., 1928-11-04
BY MARY MARSHALL.

UST as horse dealer looks into
a horses mouth to tell his ag;
by his teeth, so the student o.
~ costume may ignore other details
and accessories in studying any
historical costume and examine the
sleeves to learn the period to which ii
belongs.
Even in periods like the present,
when sleeves are comparatively simple
and when fashion looks to other parts
of the costume to carry the burden
of the trimming-still there is a de-
Unable something about the sleeves that
tells the vintage of the frock.
What then is the vintage mark of
the sleeves of the Autumn of 1928?
Perhaps the most important fact of
all is that sleeves do not seem to be
important. You discuss your plans for
new frock with your dreSsmaker-
you talk of the neckline, the skirtline.
the waistline, but it is only as an after
thought that you mention the cut of
the armhole or the shape of the sleeves.
The dreSSnaker knows that this is i'm
portant, but realizes that you are not
enough Of an expert to know how i'm
portant she keeps these matters in her
heart and ponders on them when she
constructs the frock.
There are certain facts, however. con-
corning the season sleeves that are
worth considering. The importance of
the new n1ouSquetaire sleeves is one of
these. These sleeves are made straight
and Scant-and two or three inches
longer than would be necessary If they
were to extend straight from shoulder
to wrist. From elbow to wrist they
are fitted just closely enough so that
when worn they ripple slightly and ex-
tend down upon the wrist in a way
that is always fiattering to the hands.
This type Of sleeve is especially attrac-
tive in chiffon and brocaded velvet and
in lightweight metal brocade. A wide
leweled bracelet may be worn about |
the edge OF one OF these sleeves in the |
guiSe OF a close-fitting cuff
Bear in mind that shoulder lines. are
narrow and usually very trim. In |
coats and jackets this effect is cleverly |
produced without the slightest feeling /
OF constraint or the effect of very close /
fitting.
Sleeveless evening gowns are made
with straps well UP over the shoulders |
and to keep them in the snug but easy
position that fashion demands, bodices |
must be fitted with care beneath the
arms and cut down an inch or two at
least below the arm
Long sleeves are made in one with
The bodice, without shoulder seam, with
conventional Straightforward shoulder
seams or with the sleeve tapering up
ward at the shoulder to the neck to
define even more clearly the silhouette
Of the shoulder
The Importance of the closely but
easily fitted shoulder should be espe-
cially borne in mind by the woman
who buys her frockS ready made.
Nothing can so quickly rob frock of
that "dresSmaker effect" so desirable
this season as sleeves that droop at the
shoulders and bodiceS that hang away
from the body under the arm. Only a
simple alteration is needed to bring
sleeves into the line of smart snugness
at the shoulder.
FullneSs and trimming, when present.
seem always to be placed below the ell
bow. There are sleeves of thinner fab
RIGS hanging straight from the shoulder
and with slight fare below the ell
narrow, close cuff. Lace or fine lin
gerie cuffs add to the tone of elegance
SO desirable on afternoon frocks, and
narrow Guns OF Starched linen or pique
give sure touch of smartness and
good breeding to the sports or tailored !
ensemble.
Below the elbow, elaboration and ex-
tension become more striking in the ,
sleeves of fur-trimmed coats. Some
times there is wide, full band of fur
from the wrist almost to the
closely fitting elbow, sometimes this fur
trimming extends from the elbow to
within four or five inches of the wrist. ,,
Afternoon and evening wraps of fur or
velvet sometimes show sleeves that flare
slightly from shoulder to wrist and are
left cuffless. Tailored Jackets and .
sports frocks usually have straight, un-
trimmed sleeves and the cuff, when
present, Is decidedly narrow
(Copyright, 1922