PICTORIAL SUPPLEMENT
All Creations
On This Page Front Bruch-Weiss,
New York
The Cu
Of This. Yellon Blouse In Flot Crepe Are Segments
Of Circles
Cut in One Piece
With the Sleeves,
HONGKONG TELEGRAPH, APRIL 6th, 1929.
ver the Table" Costumes
PAGE THREE
This. Tunic Frock
Of Yellow Beige Crepe Laces Up the Side With Narrow Ribbons And the Cuffs Are Given the Same Unusual Treatment.
In a Modern Version of the Old-Fashioned Basque Cown, Cleverly Fashioned of White Foille Tafels, The Collar Splits to Fold Back Into Lapels And the Long Sleeves Have Rose-Bud Bows for Cuffs.
Alencon Lace Lines · Jabol and Cut Tabs
Of This Afternoon Frock
In Pink Beige Crepe Roma.
The Matching Turban
Is Trimmed With Felt.
WH
Collar and Cuffs Play Important Roles When a Woman Goes to Luncheon
THILE much has been raid of the way the silhouette is taking curves unto itself and skirts are adding this or that kind of fullness, cuffs and collars have slyly changed their whole character. They have gone graceful, charmingly feminine and very decorative.
There is a wealth of originality in neck and wrist treat- ments. Of course this really means that the whole bodice portion of a frack has increasing importance.
This fact of the bodice's importance is emphasized in the phrase, "over the table" costumes. That phrase means costumes that look charming when a woman kits down ta luncheon and may or may not throw back her coat. Of course the collar and cuffs are the important points of interest in such frocks,
Among the newer collar treatments are such novelties as the slit scarf neck, wherein the scarf slides through itself and ties in a how in the back; the bil scarf, platroon, the handkerchief bertha, the one-sleeved cape, the sailor collar, the rear bow-knot collar topping a vestec effect in the back, the double cape of two sheer colored fabrics; the front shawl collar that splits its back to make a bolero, jabots of all kinds and embroidered, irregu larly shaped collars that use buttons and beads to liven their embroidery.
Cuffs are fully as individual as collars and need not necessarily hear much resemblance to colları,
Sleeves are more of less easy, but not full to the elbow. Below that it is up to the cuff.
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CUFFS that lace shut are intriguingly new, They have a leisurely touch about them that is charming. They seem to belong to the lady with plenty of time for grooming.
The yellow beige flat crepe frock at the top right has not only its cuffs but its entire side laced up with narrow ribbons of the crepe. And it adds rows of fagotting to make the frock more stunning.
J
The neckline of this tunic is square, with rows of the fagotting making of it a yoke, too. There is one raw of the fagotting marking off the cuff, with the lacings down through the middle of it. The lacing ties at the
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A Long Slate-Blue Coat Has a Detachable Cape Cullar That Can Be Worn "As " Or As a Modish Cape Matching the Shirt
tep of the cuff instead of the bottom, a thoughtful touch since the ties will not trail in one's coffee cup that way. The skirt of this, frock has fine accordion pleating. A matching yellow beige felt hat has a decorative strip of straw ribbon around both the outside and the inside of its very narrow brim.
NEW in many, many ways is the mustard yellow blouse
at the upper left. It is of French flat crepe and intended to be worn with a black suit. Its collar and cuff treatment is its very own.
The cuff is cut right with the sleeve, merely shaping the lower edge of the sleeve out into segments of a cicle that, lined with the black of the suit, make a most indi vidual touch. Two buttons of the material fasten the lower edge of the cuff tight and snap close the extension of the cuff,
The front portion of the bodice is shaped up over a front wirth of the same silk so that, folded back, it looks like a bolero that is fastened very high. The center of the back awings loose to form a rear bolero and the V- shaped neck in front rounds in the back.
FOR stunning femininity and yet a nonchalant fresh style, the white faille taffeta dress at the lower left is too chic for words.
It is really an adaptation of the old-time basque gown to the present mode. And the places where the old basque gown changes are in the collar and cuffs.
The collar merely splite itself to fold back into front lapels and the back does the same thing, with a slightly shirred line running down from the neck. This fnpel effect is fined by itself so it has a tendency to stand up rather than to 'lië Nat.
The long sleever havé rose-bud bows, a new variety. for culls. These rote-bud bows are rounded pieces of fabric, scalloped on the outer edge. When gathered, or shirred, in the center, they make very decorative hour. There happen to be cut in one with the top of the sleeva with more of the gcodi added to make a narrow under- cuff.
Coats and suits show the same preference for unusual collar and cuff treatment that frocks do this spring.
The question of whether to buy a suit or cost is often decided now by the type of collat they have.
THE very new slate blue suit at the lower right decides the question in favor of itself because û Jiao a long cont that can be worn with separate frocks and a capo collar that is detachable, and can be worn alone with the skin in lieu of a coat.
This cape collar is a young, stunning little treatment of the neckline. It is cut so that it huge the shoulders, giving a svelt line, has a slot scaming down the center of the back for a decorative touch and a lule bowknot of itself buttoned on right across the back of the neckline..
The slate blue color of this outfit is, incidentally, an excellent bet. For gray tones stand a high chance of being at the top of the color rainbow of fashion this season. The hat worn with this suit in of rabbit felt, that coft, thin felt that feels like velour and is almost as pliable as Transparent velvet.
LACE for lining is one of the sophisticated touches this year. The pink beige crepe Roma afternoon flock shown in the large photograph uses matching Alencon for this lowly function and prover thereby that it is not what a thing does, but, what it is that counts. For the lace- lined jabot at the neck of the frock and the lace-lined cuff tabs are exotically lovely and tricky.
These cuff tabs are full and have rounded comen. They are let right into the cuff by a dit in the crepe Roma and finished by hand, of course. When the hand is down the crepe Róma shows, with a suggestion of the lace edging it.
When Milady yawns or straightens her hat, the tab falls back and presto, there is a beautiful little tab of usually lovely lace. This expression of individuality in cuff treatment is exceptionally succesful and feminine Icoking.
The pleated straw turhan the wearer of this flock reaches up to straighten is fully as chamning as the frick,