Evening star. [volume] (Washington, D.C.) 1854-1972, 1940-09-06
BY HELEN VOGT.


Peepshow dresses, embroidery and |
beading reminiscent of pre-first |
World War days, peg-top skirts that |
are frankly 1914-all appeared this
week as the uptown New York
houses turned Fifth Avenue into the |
Rue de la Paix.
The invitations to six showings |
which mark the birth of the Ameri-
can couture specified, in many in
stances, white tie" as New York
presented its custom made collec-
tons to audiences composed mainly |
of the fashion press from all over
the United States.
Because this country hopes for
the fashion leadership Of the world,
these showings assume great impor-
lance in the field of dress design by |
American staffs. The lack of in |
spiration from Paris proves once |
and for all that this couture Is self
sufficient in IDEAS and materials. |
The excellence of the fashions dis
played by Jay-Thorpe, Bergdoff !
Goodman, Saks Fifth Avenue, Bonwit |
Teller, Hattie Carnegie and Sally
Milgrim has given credence to pre-
dictions that the lack of visits
abroad has not caused styles to
suffer.
Nude Look" Dinner Gowns.
The pencil silhouette, slim and
slinky, and the full-skirted gown
have shared honors at these show
1ngs. At Jay-Thorpes Tuesday aft
ernoon presentation, the slim
slashed skirt, called the Sultana sill
houette, created interest when it was
draped and showed bit of black
lace petticoat beneath. Bargdoff
Goodman featured the same slim
line that night under the title of
the stem silhouette" which is
straight and slashed to the knee.
Both houses concentrated on the
nude look" in dinner and evening
gowns, using lace with flesh-colored
chiffon beneath to achieve what has
been called the "peepshow effect"
Indications are that these Amer
lean designs are reverting somewhat
to modes of the early part of the
century. The increased use of
daringly slit skirts and low slashed
necklines, the prominence of taupe,
cocoa and dull mauve shades and
the richness of fabrics are, to us,
almost frighteningly reminiscent of
the short skirt and low waist era.
Obviously, however, the daring clash
ed with the romantic in evening
fashions, as at Bergdoff Goodman,
where a cloth of silver gypsy dress
slit on both sides to the knees was
closely followed by an old-fashioned
gown with fitted velvet tunic blouse
below which pulled velvet
brocaded taffeta skirt.
Darts and Tucks at Work.
In daytime models, the Fifth
avenue feeling was paramount in
magnifcently furred coats and suits,
many with the new longish fitted
jacket which some are calling
"amazon." Daytime dresses of sheer
wool often featured darts, tucks and
trimming which make the figure
look particularly appealing. One of
the most striking ensembles from
Jay Thorpe was brown sheer wool
dress with an American eagle richly
embroidered in gold at the base Of
the neck. Over it was worn full
length cape of rougher wool with
militarylike shoulders.
The little touches which gave
such fame to Schiaparelli and other
French designers were given care
full consideration in the American
designers bid for prominence. Gold
star-studded belts, buttons in the
form of fleur de lis, buffalo head but
tons and others appeared through
out the collections. At Saks' in
formal showing bright gold buttons
and tiny brilliant stars glittered on
dresses, and belts featured tingling
silver bells at the back in the new
trend to back interest.
Furs were used in hats and hand
bags and occasionally in muffs to
tone up otherwise untrimmed suits
and coats. Spotted furs were i'm
portant and blue fox one Of the
high lights. Scarfs which fell to
the waist and ended in two muff
ends and yokes of fur were two i'm
portant innovations. When furs