Evening star., 1948-07-23
Exaggerated Styles Out

BEN RE1GS collection u eagerly
awaited BY fashion editors. Its
usually prophetic and contains
clothes that one thinks Of when you
say style to the nth degree" This
season this house is showing . num-
ber of original variations on q num-
ber Of style themes. The shirtwaist
dress has . shutter tucked skirt
silhouette. Collar lines take to Q
little bow arrangement called q
-four leaf clover bow. The tissue
wool dresses are filmy and light.
Everything their name implies. Jut-
ting peplums, pagoda hips and con-
tour belts defining slim -hipped
fashions are to be seen. Buttons
again on many of the dresses shown.
Deep shadowy colors are used In the
coats, suits, dresses, afternoon and
evening clothes. The "tailspin"
skirt with a slim tubular front and
folds In the back is employed fire.
quently. Soft richness is q char
acteristic Of this house; rustling
fabrics are left to others. A high
light of this collection was a dawn
gray wool dress with q very full
skirt deeply banded at the hem in
natural moleskin. A jacket of
moleskin finished oil the wool and
fur costume. The coat dress was
also spotted number of times.
10 COPELAND turns to the late
18th and turn of the Goth century
for inspiration. Polonaise folds
drawn tauntly across the back, ultra
slim dinner dresses, multiple tiers,
and wool knits with the look of
tweed make up a great part Of her
fall '48 collection. Soft pastel COL
ors in satin are used for informal
dress-up outfits.
HANSEN BANG doesn't care who
knows it, but his collection this year
is definitely Partisan in inspiration.
The continental air pervades his
showing OF rough tweeds and soft
woolens. Goats are loose and swing
ing, semibelted, and of the snug
wasted full skirted variety. Broad
cloth and taffeta are used in a
cocktail suit with short broadcloth
jacket and a pleated black and
white striped taffeta skirt. In an
evening sequence old-fashioned
changeable taffeta (now called iri-
descent by present-day designers) is
used. The shades of tan, brown
and gold. green and black of this
changeable taffeta are different"
looking.
For the first time in New York
Dress Institute showings, houses
making coats and suits are also put
ting on displays for the editors.
ZUCKERMAN & KRAUS have a fall
collection of suits and coats that
are very elegant and more than
charming at the same time. Lavish
fur trims, paSsementerie embroid-
cry and beading is very much in evi-
dence. The velvet, velvet and wool
suit and the velvet coat will be worn
by the very best-dressed women in
Washington and, for that matter,
women throughout the Nation. Vel
vet trims, velvet dresses and velvet
hats-give fair picture of the role
that this rich and deep pile fabric
is going to play.
ANTHONY BLOTTA seems to-
have been ahead of time with his
very elaborate use of beading and
embroidery. We remember a num-
ber of other collections when he
prominently featured flowing capes
and evening gowns with rich trims.
This year he adds to his elaborate
trimmings a number of items that
make up the Victorian trim picture
such as ball fringe, beading scallops
and fancy buttons. His dressmaker
suits have rather full skirts with
shorter jackets. A parachute effect
is achieved in some skirts through
the scanning OF number of cores.
Fabrics are soft and his gabardines
and mannish worsteds up to his
usual good standards. 1
ANNA M1A1EIN 1CdGu1 CO UIlC Slllll
silhouette in a collection designed
by Earl Luck. Sudden flashes of
color come through with touches
of gold embroidery on collars. But
tons are seen over and over as trim
ming on pockets, jackets, and on
skirts. The apron skirt is apparent
on some of the woods. The apron
in some cases is stitched on to the
skirt. Heraldic colors and emblems
have been played up quite a bit
this week. Stems from the Joan
of Arc" influence. Much use is |
made Of winter navy. 1t was
brought out at another showing
that at one point in the history of
the American garment industry
many, many years ago, navy was
aIr