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<?xml version="1.0" encoding="UTF-8"?>
<xml>
<text xmlns="http://www.tei-c.org/ns/1.0">
<body>
<p part="N">VOGUE</p>
<p part="N">CHRISTMAS</p>
<p part="N">WHAT SHE WEARS</p>
<p part="N">GIFTS-THE BALL GOWNS OF 1896</p>
<p part="N"> On brisk and gay the autumn has been with weddings, two of which were
emphatically red-letter functions. Then followed the Horse Show, always a dashing
affair-a gathering of smart men and women, fine horses and equipages, and showy parade
of beauty and <rs type="garment">gowns</rs>, boxed off and ticketed for the gazing
multitudes in genuine peep-show fashion. Men were in their best form, and came in for
their innings fairly. Gallantry, grooming and good looks told with capital effect in the
brilliant picture. Now comes the finish of our yearly race, with Christmas shopping on
the tapis. We are all engaged at this moment in thinking much more about the presents we
have to make, either from obligation or affection, than of what we are having made to
wear, or planning to order in the near future, or wearing at the present moment. </p>
<p part="N">The world will bear witness that we are in our apparel as smart as possible;
our street <rs type="garment">gowns</rs>, <rs type="garment">hats</rs>, <rs
type="material">furs</rs> and the rest as faultless and as fit as it is possible to
have them. The only visible neglect is that we are quite late-and we always are in
preparing for our toilettes de cérémonie. We shall have to do all that in a rush, as
January is only three weeks off. But, apropos of the shopping and the gifts, whisper it
not in Gath that books, pictures, silver, glass, china, etc., are to play a decided
second fiddle, this year, to <rs type="material">jewels</rs>, <rs type="material"
>laces</rs> and <rs type="material">furs</rs>, particularly the last of the trio. All
my cousins and my aunts are talking <rs type="material">fur</rs>, <rs type="material"
>fur</rs>, <rs type="material">fur</rs>. What wonder, when the creations are so
lovely! A Christmas list reads off like a menagerie inventory. You will find <rs
type="material">seal</rs>, <rs type="material">otter</rs>, <rs type="material"
>monkey</rs>, <rs type="material">beaver</rs> and <rs type="material">bear</rs>; <rs
type="material">ermine</rs>, <rs type="material">chinchilla</rs>, <rs type="material"
>mink</rs>, the <rs type="material">lambs</rs> of Persia and Thibet, <rs
type="material">fox</rs> and <rs type="material">lynx</rs>. By the way, there is a
new departure in making up <rs type="material">lynx</rs> and <rs type="material"
>fox</rs> in their natural skins.</p>
<p part="N">
<rs type="material">Lynx</rs> abounds in lovely coloring, the <note type="color"
>yellows</note> paling into <note type="color">white</note>, and the long hairs
flecked with many shades of <note type="color">gray</note>. Thibet is dyed every color,
to match different <rs type="material">cloths</rs>, and <note type="material"
>astrachan</note> has gone a peg higher in exclusiveness than its once proud rival,
<note type="material"><placeName instant="false" full="yes">Persian</placeName>
lamb</note>, because the latter is now so well imitated by the manufacturers. The
medley of <rs type="material">furs</rs> now considered the chic thing has brought about
a pooling of <rs type="material">furs</rs> in families, by which elder daughters profit,
and younger ones are better satisfied with newer purchases at less value. De gustibus
non. </p>
<p part="N"> Now for un petit mot about ball and <rs type="garment">dinner gowns</rs>, for
the dinner-dance season is staring us in the face. We all know the succés of <rs
type="material">flowers</rs> and <rs type="material">tulle</rs> last year, and we are
glad to learn that both are to reign in ninety-six. All kinds of <rs type="material"
>nets</rs>, <rs type="material">gauzes</rs>, lisses, and the newest and sheerest of
<rs type="material">grenadines</rs>, flowered like watercolored pictures. I hope the
débutantes at the coming Patriarchs will scorn <rs type="material">silks</rs> and <rs
type="material">satins</rs> for their gowns and pay tribute to their own youth and
beauty in <rs type="material">tulle</rs>, the ideal <rs type="garment">frock</rs> for
that enchanting occasion.</p>
<p part="N"> The rosebud element will monopolize the strictly floral <rs type="garment"
>gowns</rs> they are theirs by natural right, but all young women, matrons or maids,
it is to be hoped, will array themselves in them for the beauty and becomingness of this
poetic fashion. </p>
<p part="N">As an example of devotion to a <rs type="garment-piece">flower</rs>, the <rs
type="garment">gown</rs> in question is trimmed with <rs type="material"
>myosotis</rs> or <rs type="material">forget-me-nots</rs>. There are two immensely
full <rs type="garment-piece">skirts</rs> of <rs type="color">white</rs>
<rs type="material">tulle</rs> falling over a <rs type="garment-piece">gupe</rs> of
white soie de Lyons, and all three skirts are gathered on one band. The <rs
type="material">tulle</rs>
<rs type="garment-piece">skirts</rs> are hemmed, with a <rs type="garment-piece">vine
heading</rs> embroidered in <rs type="color">white</rs>
<rs type="material">floss</rs>, exceedingly dainty and effective. The <rs
type="garment-piece">collet</rs>
<rs type="garment-piece">corsage</rs>, draped in <rs type="material">double tulle</rs>,
rises into a slight point, back and front, and is headed by a full <rs
type="garment-piece">garland</rs> of <rs type="material">forget-me-nots</rs>, which
form <rs type="garment-piece">shoulder straps</rs> to the <rs type="garment-piece"
>bodice</rs>. The <rs type="garment-piece">sleeves</rs> are made of many thicknesses
of <rs type="material">tulle</rs> caught under the flowers on the <rs
type="garment-piece">shoulders</rs> and draped so as to expose the arm in front, and
then draped fully into the armhole in a bouffant way. The <rs type="garment-piece"
>sleeve</rs> is finished at the elbow by a band of a <rs type="color">sky-blue</rs>
<rs type="material">velvet</rs>, matching the <rs type="garment-piece">bouquets</rs>
which are coquettishly fastened on the outside. <rs type="garment-piece">garland of
myosotis</rs> is worn round the throat, and connected from this <rs
type="garment-piece">gorgette</rs> to the <rs type="garment-piece">décolletage</rs>
are <rs type="garment-piece">eight floral chains</rs>, slender and lovely; three in the
back, three in the front, and short ones on each shoulder, which fit over the neck
perfectly. The <rs type="garment-piece">girdle</rs> is of <rs type="color">sky-blue</rs>
<rs type="material">velvet</rs>, fastened in the <rs type="garment-piece">back</rs> with
a smart <rs type="garment-piece">bow</rs>. <rs type="color">white</rs>
<rs type="garment">aigrette</rs>, supported by <rs type="garment-piece">a knot</rs> of
forget- me-nots, is posed a little to one side of the head, the hair being dressed in
waves, rolled off from the face, and pretty, careless coils in the back running up into
a little knot, with a drooping wave curled in the middle of the forehead.</p>
<p part="N"> Another charming gown has floral effects derived from exquisite <rs
type="material">silk</rs>
<rs type="garment-piece">embroideries</rs>, the newest of the fine trimmings. A <rs
type="material">satin</rs>
<rs type="material">skirt</rs> is the foundation usually for these <rs
type="garment-piece">transparent draperies</rs> of <rs type="material">tulle</rs> or
<rs type="material">gauzes</rs> favored by matrons young and beautiful. </p>
<p part="N">The skirt, in this instance, is <note type="color">cream-white</note> satin,
and the tulle overdress a <note type="color">pinkish-mauve</note>, but instead of being
hemmed is only doubled, then gathered at the waist, and afterward shirred a little
distance, say nine or ten inches below, and drawn down snugly to the figure and tacked
to the <note type="material">satin</note> gupe. Two broad bands of <note type="material"
>silk</note> embroidery, roses in every shade, start en tablier at the bottom of the
<note type="material">tulle</note>
<rs type="garment">skirt</rs> and are graduated a little toward the <rs
type="garment-piece">waist</rs>, leaving space for a pointed <rs type="garment"
>girdle</rs> of the same embroidery to show between and encircle the <rs
type="garment-piece">waist</rs> in a narrow <rs type="garment">belt</rs>, fastening
on the left panel with a <rs type="garment">bouquet</rs> of <rs type="material"
>violets</rs>. <rs type="garment-piece">Corsage bébé</rs>, <rs type="garment-piece"
>V-shaped décolletage</rs>, headed by a broad <rs type="garment-piece">band</rs> of
this lovely lisse embroidery, with bouquet of violets on the left shoulder. <rs
type="color">White</rs> satin <rs type="garment-piece">elbow sleeves</rs> draped with
<rs type="material">tulle</rs> so as to show the inner side of the arm, across which
are two <rs type="garment-piece">narrow straps</rs> of <rs type="material"
>embroidery</rs>. Hair dressed low on the face, a few short curls in the back, and
run through the top a superb <rs type="garment">jeweled hairpin</rs>, a triple <rs
type="material">diamond</rs>
<rs type="garment">aigrette</rs>. The <rs type="garment">necklace</rs> is an almost
invisible gold chain, from which is suspended three enormous <rs type="material"
>jewels</rs>, a <rs type="material">diamond</rs> in the centre, with <rs
type="material">ruby</rs> and <rs type="material">emerald</rs> on sides.</p>
</body>
</text>
<text xmlns="http://www.tei-c.org/ns/1.0">
<body>
<head>WHAT SHE WEARS.</head>
<p part="N"> BEAUTIFUL BE-FEATHERED OPERA MATINEE HATS - ONLY BOX OCCUPANTS MAY DISPLAY
THEIR HATS DURING PERFORMANCE - NATTIER MODEL COMMENDED COSTUMES FOR CALLING AN
ESPECIALLY PRETTY SHORT SKIRT MODEL — BRONZE AND OLIVE GREENS POPULAR- UNDEFINED
PLAIDSFEATHER ARRANGEMENTS </p>
<p part="N">An opera matinee is sure at all times to bring out the street fashions in
strong force. Particularly true is it at the November opening, and this year it has
proved a brilliant example. The beplumed <rs type="garment">hats</rs> assisted with
telling effects. It is one thing to pass on the street these showy long <rs
type="garment-piece">plumes</rs> in <rs type="color">white</rs>, in <rs type="color"
>blue</rs>, in <rs type="color">pink</rs> and <rs type="color">yellows</rs>, and
quite another to sit from two to three hours gazing at them from time to time. <rs
type="material">Feathers</rs> in tips seem to have almost disappeared. In half
lengths they are now disposed at most audacious angles, and bunched up into threes or
fives. They plunge out from the left side of <rs type="material">velvet</rs>
<rs type="garment">hats</rs> with <rs type="garment-piece">upturned brims</rs> in a
rearward direction that is most original. They rise from uptilted and very much trimmed
backs of hats in stunning bravado. They cross the <rs type="garment-piece">crowns</rs>
of smart hats from one side almost to the other, and over, and sweep quite far forward
upon others. As for the <rs type="garment-piece">under brim</rs>
<rs type="material">feather</rs>
<rs type="garment-piece">linings</rs>, as well as the tosssed up <rs
type="garment-piece">crown groupings</rs> turning this way and that, they all bespeak
a skill for posing, and a control over the <rs type="material">feather</rs> that never
has been as complete as it is this season. The pity of it all was to see these exquisite
perishable creations taken off and held on the laps. The box contingent is in that
respect to be envied for keeping the hat on the head.</p>
<p part="N">BOX HAT IN PINK</p>
<p part="N"> The charming Nattier styles, and the very low crowned Watteaux should become a
fixed opera and <rs type="garment">theatre hat</rs>, so easy are they to take off and
put on, and of the least trouble to keep on one's lap, for <rs type="garment-piece"
>plumes</rs> and <rs type="material">feather</rs>
<rs type="garment-piece">trimmings</rs> rightfully belong to those in seats where hats
may be worn on the head throughout the performance. Beautiful were many of the <rs
type="garment">box hats</rs>. For instance, one in <rs type="color">pink</rs>
<rs type="material">velvet</rs>, with a side tilt that seemed every moment to be losing
its balance, had its <rs type="garment-piece">brim</rs> lined with <rs type="color"
>pink</rs>
<rs type="material">tinsel cloth</rs> covered with <rs type="color">pink</rs>
<rs type="material">tulle</rs>. Five half length <rs type="color">pink</rs>
<rs type="garment-piece">plumes</rs> toppled over its <rs type="garment-piece"
>crown</rs> and hid it completely. The <rs type="garment-piece">brim</rs> in the rear
of the <rs type="garment-piece">crown</rs> was also invisible, but in front there was a
glimpse of it bent down upon the hair and on the right side. The shape of the head as
well as the dressing of the hair counts for everything in hat styles of this character.
Another irresistible fascinator was in <rs type="color">white</rs>
<rs type="material">felt</rs>, and had its <rs type="garment-piece">crown</rs>, which
was rather high and covered with a fold drapery of <rs type="color">straw-colored</rs>
<rs type="material">chiffon velvet</rs> further ornamented on the extreme edge in the
back with a long and compact bunch of <rs type="color">silvery white</rs>
<rs type="garment-piece">aigrettes</rs> spreading backward with a dash. The right side
edge of the <rs type="garment-piece">brim</rs> of this hat almost touched the beauty's
eyebrow, while on the left, the uptilt showed off the whole head. At the same marvellous
angle was posed a <rs type="color">white silver </rs>
<rs type="material">cloth</rs> creation, showing its sheen only upon the <rs
type="garment-piece">brim</rs>. The <rs type="garment-piece">crown</rs> was extremely
large, having a wrinkled <rs type="garment-piece">drapery</rs> of <rs type="color">pale
blue</rs>
<rs type="material">velvet</rs> very full and gracefully disposed. In the most
picturesque manner were <placeName instant="false" full="yes">France</placeName>
<rs type="material">roses</rs> in their dainty <rs type="color">pinkness</rs>, grouped
into a <rs type="garment-piece">garland</rs> on the left, a few <rs type="material"
>roses</rs> swinging below the <rs type="garment-piece">brim line</rs> on that side
which was abridged for that particular effect evidently. For pure coquetry no hat has
ever excelled it. </p>
<p part="N">NEW COIFFURE</p>
<p part="N"> One <rs type="garment">coiffure</rs> there was that stood out from all the
rest on a recent night performance. It consisted of two large <rs type="color"
>scarlet</rs> and <rs type="color">white</rs>
<rs type="material">velvet tiger lilies</rs> grouped with two or three <rs type="color"
>dull green</rs>
<rs type="material">velvet leaves</rs>, and a <rs type="garment-piece">Paradise
plume</rs> of <rs type="color">silvery whiteness</rs> springing from the midst. This
<rs type="garment">coiffure</rs> was posed slightly out of the middle line on the
back of the head (the hair being dressed high), but leaning a trifle toward the left
side. A copy it is said to be of a <rs type="garment">coiffure</rs> worn at the popular
<placeName instant="false" full="yes">French</placeName> play called La Belle Madame
Héber. It marks a new departure, taking the place of a <rs type="garment">theatre
hat</rs>. </p>
<p part="N">There seems to be no chance, however, this season to oust the famous large <rs
type="garment">picture hats</rs>, or the smaller styles just described. What may
happen in the autumn of 1906 remains to be seen.</p>
<p part="N">SMART THINGS HIGH-PRICED</p>
<p part="N"> If ever there was a time when so-called poor relations might joyfully accept
presents of things wearable, it is undoubtedly this year. The advance in prices for
really smart <rs type="garment">hats</rs>, <rs type="garment">costumes</rs>, <rs
type="garment">evening wraps</rs>, <rs type="garment">sets</rs> of <rs
type="material">furs</rs>, or of <rs type="material">ostrich</rs> and <rs
type="material">marabou</rs> puts the small-income sisters, aunts and cousins of the
rich in quite a trying situation. No small economies can overcome the rise to the
fabulous sums that are asked at the smart places. </p>
<p part="N">HALF TAILORED STREET COSTUMES</p>
<p part="N">
<rs type="garment">Street costumes</rs> for forenoon wear are worn short, and will be.
But there are <rs type="garment">cloth costumes</rs> only half-tailored, which are quite
elaborate, and expensively trimmed, the skirts of which are long. These are, of course,
specially intended to pay visits in, or to wear upon any ceremonious occasion. Ladies'
or <rs type="garment">chiffon cloths</rs> in single colors are for these, the best
style. The length of the <rs type="garment">skirt</rs> indicates that the wearer, if she
walks, must take it up. Hansom and cab-hire has become so general nowadays that few will
be inclined to go through the weariness of carrying their <rs type="garment">skirts</rs>
in the grasp of the hand. Many dressy <rs type="material">cloths</rs> and <rs
type="material">velveteens</rs> in <rs type="garment-piece">short-skirted</rs>
<rs type="garment">costumes</rs> mark the independence of those who are to make their
calls afoot in the season. </p>
<p part="N">A <rs type="garment">SHORT SKIRT</rs> MODEL</p>
<p part="N"> When a choice has to be made among the short-skirted tailor-mades the many
models shown are so charming that it becomes a difficult matter to order. There are
complex designs that appear quite simple in the sober colors, but are very ornate in <rs
type="material">cloths</rs> of lighter shades. A long <rs type="garment-piece"
>tab</rs> design, cut in one piece with the <rs type="garment-piece">yoke</rs> or
with the <rs type="garment-piece">Princess girdle top</rs> , is extremely graceful, as
<rs type="garment-piece">full plaits</rs> are set in to suit the figure or lessened
as the demand arises. <rs type="garment-piece">Braids</rs> to match the cloth or glossy
<rs type="color">black</rs>
<rs type="material">silk</rs> ones in some way or another enter into the bottom <rs
type="garment">skirt trimming</rs>. It is kept in most cases quite low on the bottom,
and not at all conspicuous, the main object being not to detract from the length of <rs
type="garment-piece">skirt line</rs>. Passementerie motives are introduced with
soutaches, while wider braids produce of themselves sufficient effect. </p>
<p part="N">BODICE TREATMENT</p>
<p part="N"> The close-fitting <rs type="garment">bodices</rs> receive color bits upon
their revers, mostly very small ones, or have flat shapes in color laid on about the
neck, lower down upon the <rs type="garment-piece">belt</rs>, and both in front and in
the back, as well as upon the bottom of the <rs type="garment-piece">sleeves</rs>.
Buckle ornaments are put in pairs upon the <rs type="garment">belts</rs> or as an
ornament on the top of <rs type="garment-piece">princess girdles</rs> both back and
front. This finish is a very smart one. All the <rs type="garment">bodices</rs> keep up
either Eton or <rs type="material">bolèro</rs> suggestions. A few exceptions adopt the
<rs type="garment-piece">basque line</rs> or the <rs type="garment-piece"
>postilion</rs>, but these are not found among the younger slim figures. <rs
type="garment-piece">Shoulders</rs> are, or should be, kept on broad lines; there is
no style without that feature in tailor-mades. Some <rs type="garment-piece"
>sleeves</rs> have less fulness than others at the top. Both long and elbow <rs
type="garment-piece">sleeve</rs> lengths are worn. </p>
<p part="N"> Among some extremely late coming tailor models long sleeves prevail, <rs
type="material">Lace</rs>
<rs type="garment">chemisettes</rs> give rise to openings at the neck that are
exceedingly becoming, and stands for no end of smartness in these costumes. </p>
<p part="N"><rs type="color">BRONZE</rs> AND <rs type="color">OLIVE GREEN</rs></p>
<p part="N"> As the season advances <rs type="color">bronze</rs> and <rs type="color">olive
green</rs>s increase in color distinction among the <rs type="material">cloths</rs>
and <rs type="material">velvets</rs>. An example in <rs type="color">olive green</rs> in
the finest of <rs type="material">cloth</rs>, had for trimming, an inch and a half <rs
type="color">black</rs>
<rs type="material">brocade</rs>
<rs type="material">galoon</rs>. It was a <rs type="garment">two-piece suit</rs>, a
closed Eton and skirt. This galoon from <rs type="garment-piece">shoulders</rs> to <rs
type="garment-piece">hem</rs> in front gave long lines in even rows, the <rs
type="material">cloth</rs> between being cut into a flat flap, which raised itself
sufficiently to keep the width of the <rs type="material">galoon</rs> intact In the back
these long lines were pre-served, giving a tapering effect to the <rs
type="garment-piece">waist</rs> which was belted in with cloth to match, but also had
shaped oblong applications of light <rs type="color">grayish-blue</rs>
<rs type="material">velvet</rs>, over which were motives of <rs type="color">black</rs>
<rs type="material">silk</rs>
<rs type="material">passementerie</rs>. A turn-over <rs type="garment-piece"
>collar</rs>, now the accepted finish of all the best tailor-mades, and in this instance
it was not wanting. It was also of <rs type="color">blue</rs>
<rs type="material">velvet</rs>, over-applied with <rs type="color">black</rs>
<rs type="material">passementerie</rs>. The bottom of the sleeves repeated the same
ornamentation, while upon the fronts of the Eton, on the <rs type="garment-piece">bust
line</rs>, were two <rs type="color">black</rs> pieces similarly treated. Charming
indeed was this <rs type="garment-piece">trimming</rs> effect, while the <rs
type="material">galoon</rs> in its glossy flatness seemed to be woven into the <rs
type="material">cloth</rs>, so admirably was it sewed and pressed. </p>
<p part="N"><rs type="color">TOBACCO-BROWN</rs> COSTUME</p>
<p part="N"> Of the utmost attractiveness was a <rs type="color">tobacco-brown</rs>
<rs type="material">cloth</rs> costume, short skirted, as well, with a low crutch design
separating the <rs type="garment-piece">plaits</rs>, and in the same brown shade as the
cloth. On one edge of this <rs type="color">brown</rs>
<rs type="material">silk</rs>
<rs type="garment-piece">Hercules braid</rs> was a narrow raised <rs type="color"
>brown</rs>
<rs type="material">satin</rs>
<rs type="material">cord</rs>
<rs type="garment-piece">gimp</rs>, which, when sewed on, gave a special accent to the
long <rs type="garment-piece">crutch lines</rs> that ran up from the bottom, and were
lost in their diminutive ending. A panel front had the <rs type="material">cloth</rs>
cut into graded crescent lengths from top to bottom, a darker shade of <rs type="color"
>brown</rs>
<rs type="material">silk</rs> showing underneath. Crescent was finished by the narrowest
<rs type="material">cord</rs>
<rs type="garment-piece">inlet</rs> and stitched to flatness. </p>
<p part="N">The same <rs type="garment-piece">trimming</rs> displayed itself upon the sides
of the sleeves from shoulder to cuff, and gave a <rs type="garment-piece">yoke</rs> line
back and front, in three graded rows beautifully proportioned in their size. A touch of
<rs type="color">gold</rs>
<rs type="material">galoon</rs> brightened up the turn-over <rs type="color">brown</rs>
<rs type="material">velvet</rs> collar, as it did the straight <rs type="garment-piece"
>cuff</rs> pieces; while a glimpse of both <rs type="material">velvet</rs> and <rs
type="color">gold</rs> suggested an inner <rs type="garment">vest</rs> line in
perfect harmony. All the fastenings in front were quite invisible. </p>
<p part="N"> INDEFINITE PLAIDS </p>
<p part="N">Those almost undefined <rs type="color">plaid</rs> cloths in <rs type="color"
>greens</rs> or <rs type="color">bronze</rs> with <rs type="color">red</rs>dish and
<rs type="color">dark blue</rs>ish <rs type="garment-piece">shad-braids</rs> of <rs
type="material">silk</rs>en <rs type="color">black</rs>ness are twisted into a
telling design upon each side of this straight band. A Norfolk style of short belted-in
<rs type="garment">coat</rs>, with a <rs type="color">red</rs>
<rs type="material">cloth</rs>
<rs type="garment-piece">collar</rs> and <rs type="garment-piece">cuffs</rs>, the <rs
type="color">black</rs>
<rs type="garment-piece">braid</rs> again used as <rs type="garment-piece">trimming</rs>
and a few <rs type="garment-piece">gilt buttons</rs> laid upon the <rs type="garment"
>belt</rs> and the fronts produce a markedly good and out-of- the-common style.</p>
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<p part="N">December 1 65</p>
<p part="N">SEEN in the SHOPS</p>
<p part="N"><rs type="garment">Skating Sets</rs> to Play Up the Latest Sport, Pretty
Boudoir Things for Christmas Gifts, and Two Practical Waists for a Balance Wheel</p>
<p part="N"><note type="image"> Illustration of a woman wearing a checkered scarf, hat, and
muff.</note></p>
<p part="N"> Since skating bids fair to succeed dancing as a fas, a skating set of <rs
type="material">velveteen</rs> and <rs type="material">chiffon</rs>
<rs type="material">velvet</rs> is one of the most acceptable fights; <rs type="garment"
>hat</rs>, $10; <rs type="garment">scarf</rs>, $15; <rs type="garment">muff</rs>,
$40</p>
<p part="N"><note type="image">Illustration of a woman wearing a white dress with colored
linen suspenders.</note></p>
<p part="N"> Something new is a combination of <rs type="color">white</rs> and colored <rs
type="material">linen</rs> in a <rs type="garment-piece">suspender waist</rs> that
launders beautifully; $2.95 </p>
<p part="N"><note type="image">Illustration of a woman wearing a simple blouse with
buttons, wearing a striped belt and plain skirt.</note></p>
<p part="N"> Particularly good in a simple <rs type="garment">blouse</rs> is the new heavy
<rs type="material">silk</rs> called <rs type="material">silk broadcloth</rs>; in <rs
type="color">white</rs> or <rs type="color">flesh color</rs>; $5.95 </p>
<p part="N"><note type="imge">Illustration of a woman wearing a striped scarf with a fluffy
hat.</note>
<rs type="color">Black</rs> and <rs type="color">white</rs> striped <rs type="material"
>velvet</rs> line with brilliant <rs type="color">green</rs>
<rs type="material">velvet</rs> forms the <rs type="garment">scarf</rs> of a <rs
type="garment">skating set</rs>; the <rs type="garment">hat</rs> is like the <rs
type="garment">scarf</rs>, with a gay <rs type="material">worsted</rs>
<rs type="garment-piece">trimming</rs>; <rs type="garment">hat</rs>, $12; <rs
type="garment">scarf</rs>, $15 </p>
<p part="N">SIMPLE <rs type="material">crêpe de Chine</rs>
<rs type="garment">negligées</rs> of the type illustrated at the lower left make most
acceptable Christmas gifts, because they are practical, as well as attractive; <rs
type="material">crêpe de Chine</rs> is the most serviceable of materials for this
purpose.</p>
<p part="N">The model shown may be had in <rs type="color">pink</rs>, <rs type="color"
>blue</rs>, or <rs type="color">white</rs>
<rs type="material">crêpe de Chine</rs>, or it may be had in other colors to order. The
<rs type="garment">fichu</rs>, edged with a narrow <rs type="garment-piece">knife
plaiting</rs> of the <rs type="material">crêpe de Chine</rs>, is practically the only
<rs type="garment-piece">trimming</rs>. <note type="garment-piece">Knife
plaiting</note> also appears at the <rs type="garment-piece">Empire waist-line</rs>
in both front and back.</p>
<p part="N">The model sketched in the middle at the bottom of the page is also of <rs
type="material">crêpe de Chine</rs>. The front is softly box plaited, and the back
shows two groups of <rs type="garment-piece">box plaits</rs> at each side. Delicate <rs
type="material">lace</rs> of a lovely pattern is used around the neck and to form the
sleeves; the flowing coat of <rs type="material">chiffon cloth</rs> has <rs
type="garment-piece">angel sleeves</rs>.</p>
<p part="N">A <rs type="garment">CAP</rs> AND A FLYAWAY <rs type="garment"
>PETTICOAT</rs></p>
<p part="N"> With the <rs type="garment">negligée</rs> just described is a boudoir <rs
type="garment">cap</rs> of <rs type="material">chiffon</rs><rs type="material"
>cloth</rs> and <rs type="material">Binche <rs type="material">lace</rs></rs>. The
<rs type="garment">cap</rs> is made entirely by hand and is trimmed with a <rs
type="material">satin</rs>
<rs type="material">rosette</rs> at each side, which is the only decoration. It may be
had in <rs type="color">flesh color</rs>, <rs type="color">pink</rs>, or <rs
type="color">blue</rs>
<rs type="material"> chiffon cloth</rs>. <rs type="garment">Petticoats</rs> are so much
in demand that the model at the lower right would be most acceptable to the girl who is
fond of fluffy things . The top is made of soft <rs type="material"><placeName
instant="false" full="yes">French</placeName> taffeta</rs>, and the flounce is of
<rs type="material">plaited chiffon</rs>, with a ruching at the bottom. <rs
type="garment-piece">Bows</rs> and <rs type="garment-piece">streamers</rs> of <rs
type="material">taffeta ribbon</rs> trim the <rs type="garment-piece">ruffle</rs>.
The <rs type="garment">petticoat</rs> comes in <rs type="color">light colors</rs>.</p>
<p part="N"> The <rs type="garment-piece">underbodice</rs> with the <rs type="garment"
>petticoat</rs> has been made to order to match the <rs type="garment">skirt</rs>. It
is of <rs type="material">ribbons</rs> and <rs type="material">plaited chiffon.</rs>
</p>
<p part="N">PICTURESQUE SETS</p>
<p part="N">The two <rs type="garment"> skating sets</rs> illustrated on this page are most
appropriate as Christmas gifts. The one at the upper left is of smart <rs type="color"
>black</rs> and <rs type="color">white</rs> checked <rs type="material"
>velveteen</rs> and <rs type="color">red</rs>
<rs type="material">chiffon</rs>
<rs type="material">velvet</rs>. The <rs type="garment">skating sets</rs> are exclusive
designs of the shop which made them. </p>
<p part="N">The set sketched at the upper right is of a <rs type="color">black</rs> and <rs
type="color">white</rs> striped <rs type="material">velvet</rs>, lined with a
brilliant <rs type="color">green</rs>
<rs type="material">chiffon</rs><rs type="material">velvet</rs>. The <rs type="garment"
>hat</rs> is of the same combination, with a <rs type="material">fur</rs> band and a
gaily colored <rs type="material">worsted</rs>
<rs type="garment-piece">decoration of fruit. </rs></p>
<p part="N"> Very simple is the heavy <rs type="material">silk</rs>
<rs type="garment-piece">waist</rs> in the second sketch from the upper right. The
material is the new <rs type="material">silk</rs>
<rs type="material">broad-cloth</rs>. <rs type="color">White</rs>
<rs type="material">silk</rs> is used on the <rs type="garment-piece">collar</rs> and
<rs type="garment-piece">cuffs</rs>.</p>
<p part="N">Second from the left is a <rs type="garment-piece">suspender waist</rs> in <rs
type="color">pink</rs> and <rs type="color">white</rs>, or <rs type="color">blue</rs>
and <rs type="color">white</rs>
<rs type="material">linen</rs>. Hem-stitching marks the division of the materials. The
<rs type="garment-piece">collar</rs> may be worn either open or closed. </p>
<p part="N"><note type="image">Illustration of a woman wearing a pink, blue, or white crêpe
de chine negligée.</note></p>
<p part="N"> A pretty as well as a practical Christmas gift is a <rs type="material">crêpe
de Chine</rs>
<rs type="garment">negligée</rs> with a <rs type="garment-piece">surplice bodice</rs>
frilled with narrow box plaitings; $11.75 </p>
<p part="N"><note type="image">Illustration of a woman wearing princesse negligées.
</note></p>
<p part="N">The <rs type="garment-piece">princesse lines</rs> are as popular is <rs
type="garment">negligées</rs> as in formal garments is proved by this <rs
type="material">crêpe de Chine</rs> model; <rs type="garment">negligée</rs>, $11.75;
<rs type="garment">cap</rs>, $5 </p>
<p part="N"><note type="image">Illustration of a woman wearing a fluffy petticoat with
chiffon and ribbon.</note></p>
<p part="N"> She who is fond of fluffy things will be charmed with a <rs type="garment"
>petticoat</rs> flounced with <rs type="material">chiffon</rs> and <rs
type="material">ribbon</rs>; <rs type="garment">petticoat</rs>, $9.75; <rs
type="garment-piece">underblouse</rs> to match. $9.25 </p>
<p part="N"> Note. – Addresses of the shops will be furnished on request, or the Shopping
Service of Vogue will buy for you without extra charge. Address Vogue Shopping Service,
443 Fourth Ave., New York City.</p>
<p part="N">Copyright Ⓒ 2012 Condé Nast</p>
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<p part="N">94</p>
<p part="N"><note type="image">Illustration of two women wearing long pleated skirts with
hats.</note></p>
<p part="N">(Left) In the <rs type="color">black</rs>
<rs type="material">velvet</rs>
<rs type="garment">frock</rs> with stiff <rs type="color">gold</rs>
<rs type="garment-piece">inserts</rs>, at the extreme left, the new kinetic <rs
type="garment-piece">silhouette</rs> gets its motion from a <rs type="material"
>pleated</rs>
<rs type="garment-piece">circular front</rs> that swings free at the bottom. Beside it
is a <rs type="material">rep</rs>
<rs type="garment">frock</rs> with a long <rs type="garment-piece">tie collar</rs> and
an intricately cut <rs type="garment-piece">skirt section</rs> that moves gracefully
with the wearer </p>
<p part="N"><note type="image">Illustration of two women wearing long capes with fur trim
at neck, bottom, and cuffs.</note></p>
<p part="N">(Right) <rs type="garment">Cape</rs>s or ingenious <rs type="garment-piece"
>swaying panels</rs> at the back transform the static lines of last season into the
animated silhouette of the moment. Both of these <rs type="material">fur</rs>- trimmed
<rs type="material">velvet</rs>
<rs type="garment">coat</rs>s are plain at the front </p>
<p part="N"><note type="illustration">Illustration of woman wearing chiffon dress with
flying sections</note></p>
<p part="N"> The fluttering sheerness of <rs type="material">chiffon</rs> lends itself
especially well to <rs type="garment-piece">loose hanging panels</rs> and <rs
type="garment-piece">flying sections</rs> of <rs type="material">chiffon</rs> – a
mode that calls for great skill and originality on the part of the designers </p>
<p part="N"><note type="image">Illustration of a woman wearing a short cream and gold
dress; smoking a cigarette.</note></p>
<p part="N"> This slim <rs type="garment">gown</rs> of <rs type="color">cream</rs>
<rs type="material">net</rs> and <rs type="color">brown</rs> and <rs type="color"
>gold</rs>
<rs type="material">brocade</rs>, slightly moulded to the figure, finds all its motion
in the frothy fulness at the bottom of the <rs type="garment-piece">shaped circular
flounce</rs>
</p>
<p part="N"><note type="image">Illustration of a woman wearing a long dress with an uneven
cut dress so that it flares.</note></p>
<p part="N">For evening, a slightly <rs type="garment-piece">moulded bodice</rs> is often
seen above an <rs type="garment-piece">uneven skirt</rs> so cut that it flares with
graceful motion when the wearer walks or dances </p>
<p part="N">Copyright 2012 © Condé Nast</p>
<p part="N">December 1, 1925 95</p>
<p part="N">The Silhouette Moves!</p>
<p part="N">Sketches</p>
<p part="N">and</p>
<p part="N">Notes</p>
<p part="N">That Show the Modern Spirit of the Animated</p>
<p part="N">Fashion of the Flare</p>
<p part="N"> (Left) The fulness and the pointed cut of the deep <note type="garment"
>cape</note> on this <note type="velvet">velvet</note>
<note type="garment">wrap</note> give it its animation</p>
<p part="N">On these three models, the motion of the mode is obtained in three ways-by
swinging jabots on the <note type="material">velveteen</note>
<note type="garment">frock</note> at the left, by circular cut in the <note
type="material">broadcloth</note> model in the middle, and by the wide semicircular
front of the <note type="material">velours</note>
<note type="garment">coat</note> at the right </p>
<p part="N">FLARES that spring from the front, the side, or the back, the circular swing of
<note type="garment">coat</note>s, the sweep of new <note type="garment"
>cape</note>s, the flying lines of the jabot and the scarf, have all called into being a
new mode--the mode of motion. The straight silhouette of past seasons was inert, static.
The new, flared line is a living, moving, modern thing. The rough sketches on these two
pages, showing clothes that smart women are wearing now, illustrate this theme of
motion. The unfinished lines of these sketches, which have not as yet settled into
repose, express the ever-shifting grace of the mobile silhouette. This is the impression
presented by the new flaring fashions. Every step, every move displaces a godet, a
pleat, a drapery, and sets astir a new dynamic rhythm.</p>
<p part="N">It has been a long time making its way-this mode of motion. This winter marks
its first general acceptance. We clung for a long time to the straight, restricted line,
because it gave us so little trouble. It was young. It was simple. It was smart because
it was simple and young. And, as long as we kept to it tenaciously, we could not go very
far wrong.</p>
<p part="N">But what has this new flared line to offer to offset the security of the old,
familiar, tube-like silhouette? Vogue believes that it has a great deal to give in the
furthering of a more progressive mode. Its first great advantage is its comfort. The
straight line was made for standing still in a strenuous world keyed to motion. The
flared line is designed for easy, unrestricted action. The new silhouette makes us less
self-conscious about our clothes-walking, sitting, dancing-and more conscious of a new
and exhilarating freedom and grace. Moreover, as long as the straight silhouette
dominated clothes, the mode itself could not go forward. When two seams made a dress,
what was left to encourage the invention of a Vionnet, who works with fabrics as a
sculptor moulds his planes? What was left to stimulate the plastic skill of a Jean
Patou, the kinetic, or made-for-motion, designs of a Lucien Lelong, the genius of all
the designers to whom the making of clothes is an art expressive of its age?</p>
<p part="N"> Within the new conception of the flare, there is no end to the variations that
are possible. The precisely tailored <note type="material">tweed</note>
<note type="garment">frock</note>, with its concealed pleats that flare only in motion,
the <note type="material">chiffon</note> dress with its flying scarfs and floating
panels, are both in the same modern spirit. But each meets in its own way the demands of
its fabric and the needs of the occasion for which it is especially intended. Not only
does the flared silhouette give a wider scope to the designer, but it offers more
individuality to the woman who wears it. While the straight line was becoming to the
great majority-to the average woman and the average figure-,it had little to give to the
exception. The woman whose charm is her dignity comes into her own this year, because
she chooses the type of flare that will emphasize that quality. On the other hand, the
slight, young girl now wears the new moulded lines, clinging and then flaring, short and
free, to accent every lithe line. She adopts the Greek grace of a Diana, not of a
Minerva-and the new mode offers both. The tall woman chooses clothes that will tend to
shorten the effect of length. Even a short woman finds the particular kind of flowing
lines that will make her look less square. The skilful use of flares can be made to
bring out one's good points and to minimize less fortunate ones.</p>
<p part="N">With the coming of the flare, we begin a new era of individuality-altogether
modern, a little dangerous, and always interesting. There is no longer any single
formula for chic. And just how the flare is to be adapted to its time and to its wearers
is a story to be continued in many more issues of Vogue in the weeks to come.</p>
<p part="N">Copyright ©2012 Condé Nast</p>
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<p part="N"><note type="image" anchored="true">4 illustrations of women wearing fancy <rs
type="garment">hats</rs>. From left to right, the first woman is wearing a mixture
of <rs type="color">dark red</rs>
<rs type="material">feathers</rs> starting at the top of her forehead. The woman to
the right is wearing a <rs type="color">blue</rs>
<rs type="garment">scarf</rs> with <rs type="color">dark blue</rs> horizontal lines.
The <rs type="garment">hat</rs> is similar with a <rs type="color">blue</rs> feather
on the left of her head. The woman on the bottom left is wearing a <rs type="color"
>black</rs>
<rs type="garment">veil</rs> with polka dots, her <rs type="garment">hat</rs> is a
<rs type="color">black</rs> circle with <rs type="color">red</rs> and <rs
type="color">orange</rs>
<rs type="material">flowers</rs>. It is sitting downward. The woman to the right is
wearing a <rs type="color">dark blue</rs>
<rs type="garment">hat</rs> with hints of <rs type="color">orange</rs> and <rs
type="color">red</rs>. The <rs type="garment">hat</rs> is sitting downward
covering the right side of her face</note></p>
<p part="N"> Mightier than the <rs type="garment">hat</rs> is the <rs type="garment-piece"
>trimming</rs>. <placeName instant="false" full="yes">Paris</placeName> is swamping
tiny <rs type="garment">caps</rs> with <rs type="material">feathers</rs>, <rs
type="material">flowers</rs>, <rs type="garment">veils</rs></p>
<p part="N"> Glistening <rs type="material"> pheasant feathers</rs> almost pitch over your
nose on Rebouax's microscopic <rs type="material">antelope</rs>
<rs type="garment">cap</rs></p>
<p part="N">
<rs type="color">Blue</rs>
<rs type="material">kingfishers</rs> alight on Rebouax's high <rs type="garment"
>cap</rs> of striped <rs type="material">velvet</rs>. A <rs type="garment"
>scarf</rs>, too. <persName instant="false" full="yes">Bendel</persName> imported
both</p>
<p part="N">A dotted <rs type="garment">veil</rs>, huge as a <rs type="garment">cap</rs>,
goes over your head first; over that Agnès puts <rs type="material">felt petals</rs> and
gay <rs type="material">flowers</rs> that pass for a <rs type="garment">hat</rs>; and
over that the back of the <rs type="garment">veil</rs> again. Complicated but
alluring</p>
<p part="N">Glycerinized <rs type="material">ostrich</rs> contrives that Gay 'Ninety Agnès
<rs type="garment">hat</rs> that rises in the back to show your curls</p>
<p part="N"> (SIGNED) RBNV</p>
<p part="N"> Copyright © 2012 Condé Nast </p>
<p part="N">(4 illustrations of women in delicate <note type="garment" anchored="true"
>hat</note>s. Starting on the left, a woman is seen wearing an upturned <note
type="color" anchored="true">blue</note>
<note type="garment" anchored="true">hat</note>, she has short curly hair and is wearing
a pearl necklace. The woman to her right has short curly hair and is wearing a colorful
<note type="garment" anchored="true">hat</note> with <note type="color"
anchored="true">green</note>s,<note type="color" anchored="true">blue</note>s, and
<note type="color" anchored="true">orange</note>s. The woman on the far right is
wearing a similar <note type="garment" anchored="true">hat</note> to the woman on her
right. She also has a <note type="color" anchored="true">red</note> flower around her
neck. The woman on the bottom is wearing a dark <note type="color" anchored="true"
>black</note>
<note type="garment" anchored="true">cloak</note>, her <note type="garment"
anchored="true">hat</note> is <note type="color" anchored="true">black</note> with a
<note type="color" anchored="true">red</note> bow.)</p>
<p part="N">Ruchings of <note type="color" anchored="true">blue</note>
<note type="material" anchored="true">velvet</note> upholster the façade of <persName
instant="false" full="yes">Suzy</persName>’s wistful poke <note type="garment"
anchored="true">bonnet</note> of <note type="color" anchored="true">black</note>
<note type="material" anchored="true">felt</note>, which rises abruptly to show the
public your new high-above-the-forehead curls. Jay-Thorpe imported this</p>
<p part="N"><note type="material" anchored="true">Ostrich</note> tips and <note
type="matrial" anchored="true">flowers</note> that might have come out of an attic
trunk are piled on a <note type="material" anchored="true">velvet</note>
<note type="garment" anchored="true">toque</note> (two views shown) that <persName
instant="false" full="yes">Suzy</persName>, tongue in cheek, calls “Petite
Grand’mere.” Bergdorf Goodman has it </p>
<p part="N">A mammoth <note type="garment" anchored="true">veil</note>—not unlike the old
Russian head-dresses—drifts mistily over Talbot’s small <note type="color"
anchored="true">black</note>
<note type="material" anchored="true">velvet</note> skull-<note type="garment"
anchored="true">cap</note> accented with colour, then floats around the shoulders.
Saks-Fifth Avenue importation</p>
<p part="N"> 57</p>
<p part="N">Copyright © 2012 Condé Nast </p>
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<p part="N">156</p>
<p part="N">Frances Mclaughlein</p>
<p part="N">Debututante </p>
<p part="N"> Many happy returns to the Debutante Party (even without the old fine “careless
rapture”). There is hardly one Debutante who does not include, in her daily schedule,
work for some of the great relief needs, college course, Nurse Aid or Day Nursery work.
But over this layer of serious ideas and genuine good works there is again this year the
light but delicious frosting of debutante parties. Most of them will again be the great
group presentation balls which were wartime innovations but there will be a few
individual parties. The debutante this year may still not have a seven man escort as her
mother might have had ; she will quite probably rush down for college for her own debut;
there will be fewer fittings, fewer debutante luncheons, much, much less flurry. And
although clothes may seem less important to her than to her pre-war debutante
predecessors , she will probably manage to affix her personal signature to her own
wardrobe; will know that it is not “ how many” but “how memorable” that really matters,
when she chooses her clothes. With her beautiful <rs type="color">white</rs> Coming Out
<rs type="garment">party dress</rs> this season a debutante may wear a short <rs
type="color">crimson</rs>
<rs type="material">velvet</rs> or <rs type="material">duvetyne</rs>
<rs type="garment">coat</rs>. Wear <rs type="garment">wrist-length gloves</rs> in <rs
type="color">white</rs> , and carry a tight little white furs (opposite page). If it
is not her coming out party,she will probably choose a colour. When it is not a party,
but just a small dancing evening dress again, this season … <rs type="color">black</rs>
perhaps...bare on top as her debut dress. <note type="image"> Image </note> WHITE TO
COME OUT IN. Beautiful, <rs type="garment-piece">great-skirted </rs>
<rs type="garment">ball dress</rs> made for Miss Betty Tyson by Herman Patrick tappe of
heavy silk brocade, plumed and embroidered with medallions of sequins, rhinestones,bugle
beads. Miss Tyson daughter of Mr.and Mrs George Tyson made her debut in November at a
party given by her aunt,Mrs.Geogre Mesta,in Washington. </p>
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<div type="page" n="1" part="N" org="uniform" sample="complete">
<p part="N">Pretty color; easy fashion</p>
<p part="N">TOGETHER AGAIN!</p>
<p part="N">News at night, right—the look of a <rs type="garment">top</rs> and, instead
of <rs type="garment">pants</rs>, a <rs>long slim skirt</rs>—this season’s newest
“pijama dressing!” Here’s Geoffrey Beene’s super-soft, north-of-south-version—<rs
type="color">blue</rs>-eyed, <rs type="color">gray-pink</rs> plaid <rs
type="material">silk crepe</rs>. Geoffrey designed the <rs type="garment-piece"
>shirt-and-sash-side</rs> and one of his new <rs type="garment">T-shirt-based
tops</rs>. And a beautiful way it unwraps—beautifully. Gianfranco Ferré, about
$950. At Lord & Taylor, <placeName instant="false" full="yes">N.Y</placeName>.;
Gattle’s, <placeName instant="false" full="yes">Bal Harbour</placeName>; <placeName
instant="false" full="yes">Magnin</placeName>; Liberty House, <placeName
instant="false" full="yes">Hawaii</placeName>. Accessories and men’s fashion
details, next to last page. These 12 pages: hair, Harry King of Cinandre; makeup, Way
Bandy.</p>
<p part="N">The kind of dress a lot of women have been beating the bushes for years,
left—a short, simply pretty late-day/little-<rs type="garment">dinner dress</rs>—<rs
type="color">banana</rs>
<rs type="material">silk crepe de Chine</rs>, <rs type="garment-piece"
>bare-necked</rs>, with <rs type="garment-piece">sleeves</rs> that just slip off
the shoulder. Monty Susman for Mollie Parnis; Altair, Coondogale Silk Company. About
$385. Bergdorf Goodman; Saks; Neiman-Marcus; Lillie Rubin—South and West; Swanson’s.
A reminder: those woodsy, misty scents for men (Aramis for one) are a nice
mood-changer at night. And who knows, maybe your scents won’t clash.</p>
<p part="N"><note type="image">Models in gray-pink plaid dress and yellow wrap dress,
leaning and walking on stairs. Series of smaller frames showing playful stairway
scenes.</note></p>
<p part="N">Copyright © 2012 Condé Nast</p>
</div>
<div type="page" n="2" part="N" org="uniform" sample="complete">
<p part="N">Part of the fashion idiom: “easy dressing”—meaning dressing that’s
unstudied, uncomplicated, easy to wear… all in an attractive, polished, real-life
way. The concept’s American. We started it. We do it best. And we keep doing it
better. This season, “easy” goes to a whole new level—racier, sharper, more
sophisticated. What does it: fabric with more character, patterns with more strength,
more precision… color!</p>
<p part="N">There’s a new character to Ralph Lauren’s sportier American classics, like
his traditional <rs type="garment">trousers</rs>, this page, are in a bold floral
print of <rs type="material">silk</rs>, and his <rs type="garment">shawl-collared
“robe”</rs> is vivid <rs type="color">purple</rs> in soft, languorous <rs
type="material">silk charmeuse</rs>. Another plus: these looks needn’t wait for
warm weather, a resort—this is terrific at-home dressing any time. <rs type="garment"
>Trousers</rs>, about $358. <rs type="garment">Robe-jacket</rs>, about $658. Late
Dec. at Saks Fifth Avenue, <placeName instant="false" full="yes">NYC</placeName>;
Hudson-Belk’s, <placeName instant="false" full="yes">Raleigh NC</placeName>;
Polo/Ralph Lauren, <placeName instant="false" full="yes">San Antonio</placeName>.
Ring and bracelet, Paloma Picasso for Tiffany &amp; Co. Donald Judd chair,
courtesy Max Protetch Gallery, <placeName instant="false" full="yes"
>NYC</placeName>.</p>
<p part="N">Everybody loved the look, the Fred Astaire nonchalance of Ralph Lauren’s
impeccable, classic <rs type="garment">trousers</rs>… in brilliant <rs type="color"
>chrome</rs>
<rs type="material">silk charmeuse</rs>, opposite. Here, played against a <rs
type="color">navy</rs> double-breasted <rs type="material">wool gabardine</rs>
<rs type="garment">jacket</rs> and <rs type="color">white</rs>
<rs type="garment">tank</rs>. <rs type="garment">Trousers</rs>, about $358. <rs
type="garment">Jacket</rs>, about $396. Late December at Barneys <placeName
instant="false" full="yes">New York</placeName>; Polo/Ralph Lauren, <placeName
instant="false" full="yes">Costa Mesa CA</placeName>; Polo/Ralph Lauren,
<placeName instant="false" full="yes">Denver</placeName>, Polo/Ralph Lauren,
<placeName instant="false" full="yes">San Francisco</placeName>. Rings and
bracelets, Bulgari at the Pierre Hotel, <placeName instant="false" full="yes"
>NYC</placeName>. Elizabeth Jackson chair for Arc International, Inc., <placeName
instant="false" full="yes">NYC</placeName>. These, next two pages: hair, Madeleine
Cofano for Bruno Dessange; makeup, Laura Mercier. Details, more stores, last
pages.</p>
<p part="N"><note type="image">Models in bold floral trousers, purple robe, and yellow
scarf; second in bright yellow pants and black jacket with polka-dot
scarf.</note></p>
<p part="N">Copyright © 2012 Condé Nast</p>
</div>
<div type="page" n="3" part="N" org="uniform" sample="complete">
<p part="N">A STRONG SENSE OF EASE</p>
<p part="N">Typical of this “laid back” American approach: very polished
sweater-and-skirt dressing for low-key evenings. And what a sweater-and-skirt this
is! By Ralph Lauren, this page, a long, soft-moving, bias-cut skirt of flag-red <note
type="material">silk crepe de Chine</note> with a generously sized navy cotton
turtleneck sweater. The turtleneck—so important this winter—keeps evolving for warm
weather, with long sleeves, short sleeves, even on halters. Skirt, about $258.
Sweater, about $198. Turnout late December at Allcott &amp; Andrews, NYC; Short
Hills NJ; Hartford CT; Washington DC; Polo/Ralph Lauren, Atlanta; Polo/Ralph Lauren,
Ft. Lauderdale. Elizabeth Jackson chair for Arc International, Inc., NYC.</p>
<p part="N">Pure pow! The dress everybody applauded, wanted!—Donna Karan’s—opposite. In
double-faced, full-bodied bright red <note type="material">silk</note>—strong
shouldered, tightly cinched at the waist, with a graceful, ankle-length skirt—it sets
up a whole new definition of shape and kind of dressing for easy evenings. Donna
Karan New York. About $890. Late December. At Bloomingdale’s, L.H. Rogers, Salem MA;
Alexander’s, Virginia Beach; Hudson’s, Hattie; Palm Beach FL and Scottsdale AZ;
Eleanor Keeshan, Los Angeles. Chair, Lawrence Originals, c. 1960, courtesy Fifty-50,
NYC. Details, more stores, see last pages.</p>
<p part="N"><note type="image">Models in red silk dress, navy sweater and red skirt,
posed on geometric red-and-white chairs.</note></p>
<p part="N">Copyright © 2012 Condé Nast</p>
</div>
<div type="page" n="4" part="N" org="uniform" sample="complete">
<p part="N">A STRONG SENSE OF EASE… PATTERNS ARE PRECISE, SHARP—UNSENTIMENTAL</p>
<p part="N">The best of these patterns, when they aren’t in strong color, are in strong
black or navy with white, like this very attractive city dressing for working
women—easy to wear, but polished, meant to be taken seriously. David Hayes’s
black-and-white <note type="garment">suit</note>, left: a body-close, pointed-edge
jacket and short, narrow skirt, both in strongly textured <note type="material">silk
cloque</note>—a look that moves from day into evening. About $460.</p>
<p part="N">Regimental precision—the navy-and-white stripes, right—of Gloria Sachs’s
<note type="material">silk</note> button-back blouse and classic <note
type="garment">trouser</note>, all the raciness of a jumpsuit. Top, about $220.
Trousers, about $290. And then there are patterns so precise, they give you a feeling
of texture. Anne Klein’s starring jacket, left—long, clean, collarless—continues in
black-and-white, perfect proportion with this short, slim <note type="material"
>linen/satin</note> skirt; with trousers. Louis Dell’Olio for Anne Klein & Co.
Jacket, about $380; skirt, about $160. Jewelry, Paloma Picasso for Tiffany &
Co.</p>
<p part="N">Another attractive jacket, right, by Mondi, in <note type="material">navy
gabardine</note>, slightly more classic but not blazer-y—it’s longer, more
relaxed, it moves. Here, over matching trousers, a white shirt. Jacket, about $209.
Trousers, about $160. Shirt, about $120. Hair, Edward Tricomi for Pipino-Buccheri,
NYC; makeup, Laura Mercier. Details, more stores, see last pages.</p>
<p part="N"><note type="image">Models in patterned black-and-white and navy outfits,
posed in studio and seated near luxury car.</note></p>
<p part="N">Copyright © 2012 Condé Nast</p>
</div>
<div type="page" n="5" part="N" org="uniform" sample="complete">
<p part="N">A STRONG SENSE OF EASE… THE SINGULAR CHARM OF A SOFT SUIT IN A STRONG MIX OF
PATTERNS</p>
<p part="N">Usually hard to find: suit dressing that strikes the right balance between
crispness and ease. You find it, opposite, in Oscar de la Renta’s striking
plaid/check <note type="garment">suit</note> of navy-and-white <note type="material"
>wool</note>—the jacket lightly shaped and rounded; the skirt short, narrow, slit;
the look sharpened by the jolt of a red-and-white striped <note type="material"
>silk</note> blouse. About $1190. Late January at Saks Fifth Avenue; Sara
Fredericks, Boston & Palm Beach; Montaldo’s; Higbee’s; Balle’s. Jean Prouvé
chair, Global Furniture, NYC.</p>
<p part="N">In a more dressed mood, this page, Bill Blass’s soft-falling 7/8 coat and
slim skirt, in a deep, knee-length shaft of gray <note type="material">silk</note>,
in a controlled, allover “palmette” print (fabric, Abraham) with a striped <note
type="garment">silk halter</note> that wraps at the waist (Blass, Telos). Gray at
night, a pulled-together, charming way to look. About $2570. Late January at Saks
Fifth Avenue, NYC; Sara Fredericks, Boston; Martha, Palm Beach & Bloomingdale’s,
Holt Baldwin, St. Petersburg, OH; Frost Bros. Hair, Ray Allington for Vidal Sassoon;
makeup, Margaret Avery. Details, more stores, last pages.</p>
<p part="N"><note type="image">Models in plaid suit with striped blouse and gray
patterned coat, posed leaning against luxury car at night.</note></p>
<p part="N">Copyright © 2012 Condé Nast</p>
</div>
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<text xmlns="http://www.tei-c.org/ns/1.0">
<body>
<div type="page" n="1" part="N" org="uniform" sample="complete">
<p part="N">Part of the fashion idiom, “easy dressing”—meaning dressing that’s
unstudied, uncomplicated, easy to wear… all in an attractive, polished, real-life
way. The concept’s American. We started it. We do it best. And we keep doing it
better. This season, “easy” goes to a whole new level—racier, sharper, more
sophisticated. What does it: fabric with more character, patterns with more strength,
more precision… color!</p>
<p part="N">There’s a new character to Ralph Lauren’s sportive American classics, like
his traditional <rs type="garment">trousers</rs>, this page, are in a bold floral
print of <rs type="material">silk</rs>, and his <rs type="garment-piece"
>shawl-collared</rs>
<rs type="garment">robe</rs> is vivid <rs type="color">purple</rs> in soft,
languorous <note type="material" anchored="true">silk charmeuse</note>. Another plus:
these looks needn’t wait for warm weather, a resort—this is terrific at-home dressing
any time. <rs type="garment">Trousers</rs>, about $358. <rs type="garment"
>Robe-jacket</rs>, about $658. Late Dec. at Saks Fifth Avenue, NYC; Hudson-Belk’s,
Raleigh NC; Polo/Ralph Lauren, San Antonio. Ring and bracelet, Paloma Picasso for
Tiffany & Co. Donald Judd chair, courtesy Max Protetch Gallery, NYC.</p>
<p part="N">Everybody loved the look, the Fred Astaire nonchalance of Ralph Lauren’s
impeccable, classic <rs type="garment">trousers</rs>, in brilliant chrome <rs
type="material">silk charmeuse</rs>, opposite. Here, played against a <rs
type="color">navy</rs>
<rs type="garment-piece">double-breasted</rs>
<note type="material" anchored="true">wool gabardine</note>
<rs type="garmnet">jacket</rs> and <rs type="color">white</rs>
<rs type="garment">tank</rs>. <rs type="garment">Trousers</rs>, about $358. <rs
type="garment">Jacket</rs>, about $396. Late December at Barneys New York;
Polo/Ralph Lauren, Costa Mesa CA; Polo/Ralph Lauren, Denver; Polo/Ralph Lauren, San
Francisco. <rs type="garment">Rings</rs> and <rs type="garment">bracelets</rs>,
Bulgari at the Pierre Hotel, NYC. Elizabeth Jackson chair for Arc International,
Inc., NYC. These, next two pages: hair, Madeleine Cofano for Bruno Dessange; makeup,
Laura Mercier. Details, more stores, last pages.</p>
<p part="N"><note type="image" anchored="true">Image: full-page color spread of Ralph
Lauren trousers and robe.</note></p>
<p part="N">Andrea Blanch<lb/>Copyright © 2012 Condé Nast</p>
</div>
<div type="page" n="2" part="N" org="uniform" sample="complete">
<p part="N">A STRONG SENSE OF EASE</p>
<p part="N">Typical of this “laid back” American approach: very polished <rs
type="garment">sweater</rs>-and-<rs type="garment">skirt</rs> dressing for low-key
evenings. And what a <rs type="garment">sweater</rs>-and-<rs type="garment"
>skirt</rs> this is! By Ralph Lauren, this page, a long, soft-moving, <rs
type="garment-piece">bias-cut skirt</rs> of <rs type="color">flag-red</rs>
<rs type="material">silk crepe de Chine</rs> with a generously sized <rs type="color"
>navy</rs>
<rs type="material">cotton</rs>
<rs type="garment">turtleneck sweater</rs>. The <rs type="garment">turtleneck</rs>—so
important this winter—keeps evolving for warm weather, with <rs type="garment-piece"
>long sleeves</rs>, <rs type="garment-piece">short sleeves</rs>, even on <rs
type="garment-piece">halters</rs>. <rs type="garment">Skirt</rs>, about $258. <rs
type="garment">Sweater</rs>, about $198. Turnout late December at Alcott &
<placeName instant="false" full="yes">Andrews, NYC</placeName>; <placeName
instant="false" full="yes">Short Hills NJ</placeName>; <placeName instant="false"
full="yes">Hartford CT</placeName>; <placeName instant="false" full="yes"
>Washington DC</placeName>; Polo/Ralph Lauren, <placeName instant="false"
full="yes">Atlanta</placeName>. Skirt, Polo/Ralph Lauren, <placeName
instant="false" full="yes">Ft. Lauderdale</placeName>. Elizabeth Jackson chair for
Arc International, Inc., <placeName instant="false" full="yes">NYC</placeName>.</p>
<p part="N">Pure pow! The dress everybody applauded, wanted!—Donna Karan’s—opposite. In
double-faced, full-bodied <rs type="color">bright red</rs>
<rs type="material">silk</rs>—strong shouldered, tightly cinched at the <rs
type="garment-piece">waist</rs>, with a graceful, ankle-length <rs type="garment"
>skirt</rs>—it sets up a whole new definition of shape and a new kind of dressing
for easy evenings. Donna Karan <placeName instant="false" full="yes">New
York</placeName>. About $890. Late January. At Bloomingdale’s; L.H. Rogers,