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FWENTY.ONE, ----____ awa suntan ghlights e overblouse, which ghts banded with men, is worn with y coat, correspond= 'the ground in the red, and green are ng color schemes. 1at subtle combina- an monotone color Yellow and brown, rtreuse, navy with d and white, green brown with a sal- xamples. suits and pajamas, ch in evidence. The beret is a new note, a mixture of colors ~ one mote of the pular- beach shoe is rubber one in bril- ther: matching the r+ carrying out th cessories. : inity who go there )o0ks. {8 an appropriate women," sald miss nterview, 'because uch housekeeping have to keep at it eep the stock clean t should. ny women do seem to the book busi. . might be difficult ar reasons for this, iue to the fact that ightful atmosphere his type. One comes h most interesting n you meet on the d of books you see ir most charming a LEB EE ed es wwe =a | § a ---- a EE of DETAIL Never Has There Been a Mode So Intricate-- Little Things Contribute to Its Charm. Tis aie possible for things to be explained too thoroughly, with too much attention to de- tail, but the chapters that are being written at the present mo- ment, instalments in the growing volume of the history of fashion, go very much into this same detail. There is no single garment that does not find the longest way round the most interesting, if not the shortest, way to the end, and these ways are full of fascination. Dress after dress passes in re- view, with only its fabric for trim- ming, yet there is nothing simple about any one of the offerings. True, there may be more than one fabric, and there frequently is, or there may be more than one color, but nothing alien is introduced, and the result is extremely satis- factory. Never have we depended s0 much on materials and their use, or colors and their application, as we do at present. Both color and fabric are the artist's materials with which we draw lines, and lines are, without doubt, the most important things in the mode. From neckline to hemline, the two extremes, by way of the waistline and the applied bits of elaboration, there is a constant stress laid on lines, the final smartness of every model at- tributable to the direction they take, More than that, they de- termine becomingness. The Value Of Details In the models that appear upon this page, and they include sports, daytime and evening frocks, an ensemble and a coat, we note only two details that are not carried out with some fabric--a shoulder flower and a monogram motif. The printed pattern, for instance, is all that seems necessary for the eve- ning frock, if we except the flower which is carried out in the frock colors. Charm lies in the flounces and scarf collar. In the models of flat crepe, . which is, by the way, a much featuted fabric, we have color contrast featured, one model boasting a fichu-scarf with a mon- ogram on one end. In every other instance fabric is the decorative medium, and results speak for themselves. The printed dress chooses a banding in another de- sign, and the coat contents Itself with fine tucks that form a deep pointed yoke and extend down over the sleeves, Probably there is nothing more important, at the moment, than the ways of hem and necklines, for they are erratic, startling at times, and oddly unusual. There is no one point of interest that is as closely watched as the hem- line, for we are always hearing prophecies of its rise or fall, and we are becoming accustomed to its irregularity The resort season has seen the Inauguration of several radical changes. The New Daytime Theme The sleeveless dress and the low decolletage for daytime wear are features of the shaping mode. These are sports features, a result of the amusing vogue for a sun- tanned skin. But it will be readily seen that both these features will effect this particular type of frock, and there is a steadily Increasing vogue for sleeveless models, even for afternoon wear. Frocks for the latter purpose are growing daily more formal, : For some time we have had the down-in-the-back line, especially in formal evening wear. This continues, but In one respect it differs, for the back is flattening out, and the effect is achieved by drapes, or by loops, cascades, in- serts or bows of the fabric. Scarfs are another detail that are at- tracting attention, and they do all sorts of odd things to the frock, and seem to have no preference for either back or front. Scarfs are used on coats, jackets and frocks, and they are large, small, or half-way. They are of fur, on coats, or of the material, on any garment that they trim. Sometimes they are of a different material, as a plain fabric on a check or a plaid. It is smart to have them one-sided affairs, and sometimes a half-collar, either back or front, ends in a long scarf- end that gives slenderness to the model where it needs it most. "THE CAPE'S THE THING!" the cape will supersede the coat in popularity, although there will be cape-wraps, but that A: this does not mean that 'the cape will be a detail of many garments, as well as a separate affair. The eminent couturieres of France are putting capes on every- thing that they can--frocks, coats. suits and boudoir apparel. For- tunate, indeed, the slender woman who can wear a cape or a cape- collar well--she can be extremely smart, this spring. » Capes are all types and all sizes, fickle affairs that may 6 well be dubbed "all things to all people." They may be narrow, S0 narrow that one is in doubt as to their status--scarf or cape. They may fall to the hips, or they may re- semble a bertha, which, in many instances, they are. And there is more to the cape than size, for they differ in other respects, as well, making for the variety that we have come to insist upon. Sometimes the cape follows the line of the shoulders, and some- times it flares, or it-may be crushed about the neck. In some of the newest coat models the cape 1s bordered with fur, and In one in- stance a cape of fur was noted, white, on a black coat. Frocks find capes and capelets amusing, and use them ingeniously. Elbow- length capes are smart and the scarf capelet is a sort of compro- mise for her who may not be thoroughly caped. Not to be outdone by the coat, which has been abbreviated Into a jacket for our utter smartness, the cape has been offered in a circular model that is designed to be thrown, casually over either an afternoon or an evening frock. It is an unlined affair and the ma- terials most favored for fit are crepe or moire. Grace is given this garment by the scalloped edge, and it is proving one of the most pop- frock follows this vogue, but weave that contrasts with it. cuffs and Tusedo revers, and fabric. ' (2) An evening gown of I are b and h deep hip-yoke. far coats. (4) The fuller skirt appears impressed by the use of color and three piece respectively. (5) A jacket suit of green fiat for contrast, there is a scarf In (6) They call it a semi-sports that becomes a collar in front. (7) In the spirit of the mode material is flannel, and one is V-yoke and sleeves. Typical of Al = --7 NS lo) rs NNN Detalls Extend Their Scope With the steadily Increasing im- portance of the jacket suit, the blouse gains in importance, and since we are accepting formal touches, we find them creeping into the blouse mode, giving us blouses with dress details. By this {s meant the attention to the fine points of line, and color and. fabric | contrast or use, which distinguishes 'the one-piece frock of two-piece appearance Both tuck-in and slip-over blouses are included. | There is something else to be | considered, when it comes to fashton's love of detail. The very cheznoteristics that commend a | dress to us, and serve to make it both becoming and appropriate to our needs may prove our undoing | when it comes to the completed ensemble. Lines, colors, materials, must be in harmony throughout the costume, and this must be borne in mind. when selecting the costume accessories that are im- perative. You will find that the designers of our handbags, shoes, kerchiefs and the like, are not insensible to the necessity for harmony in the little things, and as a result you will find curves, angles, straight lines and the like carried out in decorative motifs, that there may ibe an effect of matched pieces, as | well as of harmonious colors. Type {is detail, and so is color. The successful costume is arrived at through attention to small things. mm ular of the many "abbreviated wraps. The prominence of the jacket suit has brought forward the sep- arate blouse of silk crepe, The colors in these blouses are lovely, assuring harmony, and details of handwork make them distinctive. THE PICTURES (1) Knitwear is pre-eminent in the shaping spring mode. The the coat is made of a novelty The back of the goods is used for the scarf is made of the skirt printed Georgette is different. Its and there are circular flounces below the close hip band, Cascades of the material repeat this detail as applied to the waist, and there is a hand-made' shoulder flower. (3) The small patterned print against a dark background. There is an old-fashioned air about this model with its bandings and bows. The skirt has a wrap-around effect, but is set on a Typical of the yogue for smart prints under in the sports mode. One fs in these models which are two Notable features are. the wide, deep collar and the cape. Both are semi-tailored in their finish. crepe with smart details. it Is a sports model with a pleated skirt and a blouse and fitted hipline finished with bows. Proving the value of high color the blue with green and orange. model and rightly. It is a one- piece affair of great simplicity, if one excepts the deep cape Its color is green, bordered in a deeper tone and a line of pastel yellow for contrast. . that is of another season. The impressed by the novelty of this straight line affair, which acquires individuality with a tucked the coats worn with prints. fn SRA EN ZA J BARBARA O matter what the fabric, this season, it is printed. Cottons, silks, linens and all the novelty weaves that employ these threads or the mew rayon yarns, show as many, if not more, printed i surfaces than plain. And ijt is ' quite possible to prove the state- ment that prints: are considered in direct relation to the fundamental theme of the ensemble, for one design often occurs in two different materials. This is not all, for sometimes the design in the one fabric is small, and in the other large, the latter used for the coat, the former for the dress of the costume. Colors and patterns are the same, the difference appearing in the ma- terial and the size of the print. Of course, prints age used with plain materials, and effectively, too, but the volume of sales In the 'shops prove conclusively that prints are smartest. There seems to be something of ja rivalry between the small print | and the large, but both are beauti- ful and necessary. The small woman can find becomingness in a huge, sprawly pattern, but if the large woman 'desires to wear a PRINT/~ printed fabric. the desizn must be' many shades. pearance of a solid color at a dis- tance. Dark backgrounds are a boon to this group of women, the patterns as gay as desired. There is more to the matter of design than the layman may imagine, for odd themes are in demand, and designers find that original effects are often stolen by rival manufacturers, which makes it imperative that they register any pattern that they may conceive. We are no longer confined to checks, plaids, dots, flowers and the familiar conventional effects, It is a time of originality in art, and this governs fabric design. There is no source too humble, or too mighty to serve as inspira. tion for printed pattern or woven design. Peasant themes, scenes from' history, modernistic curves and angles are all appropriated, and there are, sometimes, as many as a dozen colors in a single print Dark blue or black or brown backgrounds are' popular, and pat- terns are distinct or blurred as the theme works out. Some of the smartest designs are widely spaced Incidentally--blue, brown, beige, tan, green and red---all of them in are calor leaders LITTLE AND ~~ small and close-set, giving the ap-|and we Big see touches of henna, orange, the purple shades and gray, but chiefly for trimming pur- poses or for color accent. ie lla re PID YOU KNOW HAT tuck-in pajamas with 'gob' 'trousers are the latest] lingerie wrinkle? Adorable ones are made of crepe parure in lovely soft colors, and the sleeveless with a small sailor col- lar, Some of the models havé a jacket to match, completing the ensemble. THAT a fashion note of impor- tance proclaims the fact that the "Blue laws" of fashion are to be more strictly enforced than ever, this spring? One window display in .a Fifth Avenue shop was re- cently given over to mavy blue and light navy ensembles which in- cluded accessories. THAT the well-dressed woman is now wearing a frock of a tone that is known as a 'high pastel?" Really they are pale colors. very clear as to tone, and they suggest spring, the while they prove very becoming to the wearer. All of the new frock details appear in these mndale BLACK an¢ WHITE HERE is talk of high colors, both bright and pale, and dally new shades are being proffered tor our use. But always, in the background, we have black, white and black and white, and at times they attain the very, peak of fash- jonable prominence. The present is such a time, and stylists are sponsoring the all black costume, or the one that is combined with white, insisting that it is extremely youthful. First off for immediate wear, there are the jacket suits that go so well beneath the fur coat, and the town ensembles that are com- ing into the hey-day of their popu- larity as the days lengthen and the sun gets higher in the sky. Such an ensemble may well be of cloth and made in three pieces, the skirt and full-length coat completed with a satin blouse in white, the satin lining the coat, White fur for the coat collar. The afternoon frock of dull crepe is considered ultra smart, and it is all-black, and may be scarfed, caped, bowed, what-you- will. Dress coats for immediate wear are of broadcloth, straight- line affairs with huge shawl collar of ermine, or flared with a youth ful collar of ermine, cut in the way of a sailor's collar. Really beautiful, these coats, when worn over a frock in some arresting shade, and there are many such. Accessories carry out this vogue for black and white, and of course you will recognize the fact that there are many shades--nuanoes, they call them, of white? Gloves, and scarfs the latter smartest when made of crepe in cravat style, flowers, gardenias especially, and footwear and headwear carry out the general color scheme. And-- to be different, some wear a dark red coral necklace with the en- semble, which is the height of elegance and sophistication. FOR SPORTS They are wearing little socks for active sports that have embroidered cuffs that are most original. Tennis an olf figures are embroidered in eral bright colors on light- hued socks, that are also very light of weight. You suit the pattern to the sport. There is an increasing tendency toward dull colors for sports-wear, the deep hlues and greens, as well as black, generally featured. But | this rule does not apply to acces- | sories, which make up in gayety of color and pattern what the suit, in the background, omits. is not spring, but the coat isplays would surely lead one » think so, for they are, almost | vithout exception, in the man- {vier of the new mode that is only a few weeks away. Whether one is to have a new coat for Easter, or must make the old coat do, she is interested in all that pertains'to this mode--fabrics, colors, sil- houette. If she planned, originally, to wear her purchase two seasons, there were certain rules she ob- served. She did not choose a color that was of the season during which she acquired the garment, but was conservative in that color choice, keeping to black, navy, or some neutral that would never be out of fashion. And the same was true blouse is. of the silhouette, for the only lines that we can always feel sure of are straight lines, and the coat that keeps to the straight, if not the narrow path, is reasonably | sure of a place in any mode. | As we approach the spring sea- son there are several things that must be definitely settled. What will the seasonal silhouette be? What materials will be featured? Will the use of fur dominate the mode, or will there be coats that disregard this trimming? We can, of course, answer all three ques- tions this early in the season, for Easter coats and suits are already on the streets, even though Easter comes early, this year. Beginning with fabrics, and woolens especially, we have a very great many kashas and tweeds, the former more important than the latter because they are a bit more dressy--and we are coming to be a dressy people. There are twilled materials and suedes, and there are many novelty weaves, specially planned for sportswear. Tweeds are to be had in many different weights and colors, for this fabric has become a fashion classic. Afternoon brings out the rich materials--silks, crepes and the like, and we find satin again a favorite, with crepes Important. Flat crepe is preferable, if you are not slim, for it is an old and recognized law that shiny surfaces increase apparent size. Bengaline can be classed with the crepes, and you will find some models in molre silk, forming a delightful contrast to the chiffons and Ggorgettes of formal afternoon frocks. i When it comes to colors, black is first in importance, for it is al- ways safe. since it can be worn over any color or shade of that color. Navy comes next, for many find that black is unbecoming, and nave ar midnight hlua affarda the FEATURING THE = NEW COATS =-- necessary relief. Brown and tan land grege and grey are neutral | tones, and the new sunburn must be mentioned. Since the larger | percentage of women use one coat ; for many purp color chof { important. Next comes the question of fur, since we may class it as a fabric. Winter coats have been so heavily furred that there is a tendency to get away from this trimming. and there are many models that do not recognize it at all. Scarfs and capes come into prominence as & result. and there are a very great many different ways of using both, although the scarf collar is prob- ably the most important style de- tail of the new mode in wraps, The flat furs are preferred, when fur. is used, and we hear caracul, shaved furs and the new galyak fur mentioned oftenest. The de- mand for fine, soft, fiat, supple skins is constantly on the increase, for huge collars have taught many women a lesson in how very um- becoming too much fur can be, especially if they wear a forty sise, or over. White fur on black is & note of importance, and, generally speaking, white and black are good. And now we come to the sil- houette, which has the advantage of versatility, and grows interesting as more new models appear. There will be twice, even three times as many straight line coats as all the other silhouettes put together, but when coats do not adhere to slen- derness, they are, ons, most intriguing, for they use ani. mation with a certain restraint that makes them most fascinating. Two themes are important. The first is the coat that shows animation, that effect achieved by the use of low-placed flares or cire cular cuts. Incidentally, one may say that animation is characteristie of all the spring coats, for capes and scarfs supply it when the silhouette is straight. The second theme is the princesse, which ap- pears in a very much modified form, apparent, oftentimes, In nothing more radical than the defining of a waistline, a bit high, perhaps. Sports coats many of them are elaborated with a closely stitched border, and this idea can be used in some most in- teresting ways. Sometimes the straight line silhouette is varied with pleats, but the effect is of straightness. Coats come to the hem of the dress, although ensem- ble coats may be several inches above the hem. And thére are, of course, the smart little jackets thet are avervwharae in gvidanaa. like stitching. and _ " BE OA CAS a A I FF JF FFT FYFrFryi