The San Antonio Light (San Antonio, Tex.), Vol. 43, No. 324, Ed. 1 Sunday, December 9, 1923 Page: 44 of 76
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Subtle Simplicity Pervades the Winter Mode
Ont of Vionnefi te-around dreues the »ash and dreu made In
one and a bronze-green tatin model the front of the bodice falling
in t eucceuion of hood-like foldt and the back a Capucine hood
Clever Designs Include Jabot
and Scarf and Cape Draperie
The Important French designers
are rivaling each other in creating
simple models sometimes in-
triguingly simple and at other
times frankly simple.
Madeleine Vionnet has fairly
outdone herself along these lines.
Beginning with the paradox of the
complicatedly simple one must
first cite those of her dresses
which show wrinkled fronts the
jabot effects and scarf and cape
draperies. Each of these seem
ing accessories ordinarily sewn on
as an adornment is now become a
component part of the dress; that
is to say it is cut in one with the
dress.
This designer more than any
other maker in Paris has an ex-
traordinary aptitude for the seam-
less robe. Imagine a dress with a
cape which cape instead of being
cut separately and nicely adjusted
across the shoulders in the old-
fashioned way is continuous with
the front of the frock or which
instead of rounding out at the neck
or being cut in a square or pointed
line keeps on for at least another
three-quarters of its length. This
long end shapes out into a sort of
bat wing effect which twists
around the neck at its narrowest
point goes across the back and
hitches up at one side on the
shoulder thus being transformed
into a cape.
Bat-wing Effects
Form Jabot Backs
Sometimes there are two of
these bat wing effects one con-
tinuous with the front and the
other continuous with the back.
They both go across to one shoul-
der where they flare in an exag-
gerated jabot cape. This idea is
very successfully worked out in
the double way on a coat which is
straight and fastens at one side
and has ns its distinctive note this
peculiar arrangement making it
half scarf and half cape.
Vionnet has dresses worked out
with this continuous jabot the
dress itself being apparently of
♦he simplest chemise form but the
jabot which hangs both in the
back and in the front is the novel
feature. Many dresses of this
character are developed from
black satin with an identical jabot
back and front. The straight dress
is encircled with a soft narrow
girdle which conceals the seam.
The long tight sleeves are cut
With a sort of handkerchief point
at the wrist these being drawn to-
gether by knotting the ends of the
flaring cuff-like extension.
SUNDAY.
Another favorite scarf trimming
on a simple straightline dress is a
sort of bias strip fully .one and
one-half yards long which is ad-
justed in scarf-like fashion across
THE SAN ANTONIO LIGHT.
BY SARA MARSHALL COOK
the shoulder or is knotted at one
side on the shoulder. It is en-
tirely free across the front ard
only attached at the back of the
dress "his model is varied by a
scarf-end pendant from the girdle
which corresponds with the neck
scarf.
Another curious variation from
the perfectly straight line is a
dress so cut that the front forms
a series of draped folds like a
hood. This is done by means of
a bias seam down the center front.
Two Colors or Fabrics
Used in a Single Model
A similar arrangement is worked
out in a bib effect rounded at the
corners and formed of alternating
bands of two shades of crepe. A
typical model is illustrated second
from th? left at the top of today's
page. It is developed from bronze
green satin. The front of the
bodice falls in a succession of
hood-like folds while the back is
a Capucine hood.
Very characteristic are Vion-
net’s two-color dresses her two-
fabric dresses and her two sur-
faced dresses; that is to say she
will use black and red satin to-
gether or a metal cloth and a high
color satin or a satin surface
crepe in one tone but will combine
the two surfaces; that is part of
the dress will be a satin finish and
the remainder crepe.
One model is made with a low
waistline bodice fairly snug-fi^
ting and shaped under the arms.
This is cut in eight square-end
slashes something like the Walls
of Troy pattern. The scanty cir-
cular skirt is cut so that the slight
godet fullness seems to come out
between the slashes. This model
is developed in all black with a
red satin bodice and a black satin
skirt and in an evening dress of
three tones of rose chiffon shading <
from the very palest tone to a I
deep rosy red. It is also made |
with a printed velvet bodice and a 1
. black velvet skirt. <
The surplice effect is achieved (
: in a decisive way. Vionnet man-
ages to give it a scarf effect by
leaving certain points free. At
[ the shoulder seam where these j
; ends pass around the neck and ।
j knot at the back in a little bow ।
> they simulate the lied ends of a ।
handkerchief. The front of this ]
dress is slightly blousing at a very
low waistline where the wide sur- ;
plice fro:it crosses. On the straight
j skirt is hung a small tablier or
apron ako split down the front. :
’ This is an ideal dinner dress and ।
is most irequently made in black i
। satin. The sleeves in this model
are long and fairly tight fitting
; and show a slight bell shape at the
' wrist.
j. The Surplice Idea
In Evening Dresses
This surplice idea is shown in
- the evening dress of embossed gold
- cloth which is illustrated at the
- lower left of the page. It is de-
e veloped from hammered antique
. gold metal cloth. The surplice
li front is slightly blousing but
e the extremely decollete back is
B straight and outlined with a gold
f bead embroidered band which
1 forms a Y-shaped ornament. The
open ends of the Y form the shoul-
v der straps and the long end of the
c Y makes the narrow panel of the
center back. All this is done in
j closely set antique gold beads. This
s dress is entirely sleeveless and of
-- course is to be worn with the
t figure ur.corseted.
t Another big feature is the dress
1 of double-faced satin crepe deco-
a rated in geometrical designs which
r> show the alternating surfaces of
f satin and crepe. Innumerable
dresses of this kind are shown in
bronze green in beige in hunter's
green and in black. Some of these
have cape backs with long jabot
ends on either side.
Use of Two Surfaces
Simulates Patch Work
Others of these geometrically
patterned dresses show the or-
namentation on the bodice alone
or on both bodice and skirt. Par-
allelograms and squares oddly
placed make up this curious deco-
ration. The geome.rical designs
are like crazy patch work the ma-
terial being sewn together when
reversing the side to give this
marked pattern after which the
dress is cut from the fabric thus
adorned.
Also included in Vionnet’s col-
lection are appliqued dresses
where the mat surface cut in de-
sign is sewn to a brilliant one
with invisible hand stitching. It
was in this way that her jungle
and floral dreses were made last
season.
There Is another type of dress
which swathes the figure and is
tied directly in front with a bow
and ends which are a part of the
body of the dress. There is no
seam except a bias one down the
center front and back. It is only
possible to cut such a dress from
the two-yard wide fabrics which
Vionnet practically controls in the
Paris market. One of these tiq»
aroun^ dresses is illustrated at
the upper left of the sketch. It
is developed from satin surface
crepe de chine with the shiny side
out.
Her jabot dresses are of .endless
variety. One of her most popular
and practical dresses is a straight
chemise dres with a wide panel
plait down the center back. The
front of the bodice has a full ripple
jabot extending entirely across the
front of the dress with a V neck
opening. This looks something like
a great rippling bib. This dress is
tightly belted at the waistline.
Widely Lapping Front*
Which Make a Jabot
Repeating very much the same
idea is a black velvet coat with
widely lapping fronts which form
single or double jaoots according
to whether the coat is worn open
or closed.
A new evening dress is in green
velvet combined with gold cloth.
This is a simple low waistline
bodice sltapped at intervals with
bands of the gold cloth sewn to
the green velvet. The circular cut
skirt hangs from a low waistline
and has a deep facing of gold
cloth. This dress has the simplest
possible line but its beautiful
coloring and skillful use of two
fabrics lends its great charm.
Another new model which ex-
presses- Vionnet’s simplicity ir
evening gowns is shown at the
center of today’s page. This model
is developed from white jirepe with
silver embroideries. The wide cut
circular skirt falls in rippling
points about the feet These points
almost louch the floor and yet at
the same time are so deeply slashed
that w’hen the wearer walks hci
knees are exposed.
Callot keeps to simplicity from
a standpoint of line but continues
to use marvelous embroideries ri-
valing even those of the Orient
One of her newest dresses is illus-
trated directly to the left of the
model just described. It is de-
veloped from white satin and rec
silk with elaborate embroideries oi
red blue and gold covering long
panels closely set together ovei
the red satin foundation to forr
not only the skirt but also the
shower-like ends qf the Orienta
girdle.
THE TROUSSEAU OF AN ENG
LISII PRINCESS
Every one knows that the wed
ding dress of a Princess should be
of silver and since princessci
themselves know it too it invar-
iably happens that al a royal wed-
DECEMBER 9 1923.
ding the principal figure is clac
in a fairy like silver gown.
Princess Maud who recently
married wore a wedding dress d
clinging white Georgette seivn a"
over with tiny shining pearl bead
which give it a delicate silvery ap
pearance. From ne-'k to hem r.u
what looked to be gleaming sequii
bands but these in reality are line
of embroidery in crystal bead
flanked by rather long silver line<
bugles. Two bands of the satrn
embroidery encircle the low wa’st
line and these are joined in fron
by a large oval ornament worke
in diamonds and pearls.
The long court train—it meas
ures over four yards—is of silver
cloth veiled with the finest silve
net embroidered in a lacy patten
in silver threads. Finally then
is the veil which is of lace ovo
Georgette crepe and is arrange
like a Dutch cap with wings a
the side from which fall narrow
laae streamers to the hem of th l
gown. Ousters of white heathe
—both the Princess and her brides
maids are Scottish —instead of th
conventional orange blossom an
pear at tach side of the cap.
A Dozen Evening Gowns
All on Simple Lines
The trousseau contains twelv
evening gowns each one quit
simply made. Several have trair
and most have some sort of flors
decoration tj)is particular form o
trimming being one much liked b
the bride. Turquoise blue peac
and black are the principal coloi
of these gowns but there is one o
pillar box led embroidered in go I
beads.
A dinner dress of black chiffc
velvet has a train falling from th
shoulders. The back is quite pla’
but the front of the bodice an
skirt is embroidered with narro
black cire braid sewn with diamon
paillettes.
Her going away gown is <
beaver colored marocain wit
thick lace sleeves and a narro
lace bertne. This has a band <
mink which goes over the shou
ders and down to the bottom <
the skirt thus forming a straigl
panel back. A magnificent mis
coat with a cape collar compleC
the costume. N. K. T.
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The San Antonio Light (San Antonio, Tex.), Vol. 43, No. 324, Ed. 1 Sunday, December 9, 1923, newspaper, December 9, 1923; (https://texashistory.unt.edu/ark:/67531/metapth1628974/m1/44/: accessed July 6, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu.; .