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10 THE INDEX, Saturday, January 7, 1928
F a s h i o n A t T h e C r o s s R o a d s
Winter furs and fabrics rub elbows with tlie hlrnu things
of summer. New details add zest to tlie mid-season models.
bu Blanche Sears Emerson
W E no longer "settle down
for the Winter," as our
forebears were wont to do. Modern
conveniences have made this
old world a different place to live
in, and something of the restlessness
of conditions in general
is reflected in our fashions. With
the holidays over, or perhaps we
should say the Christmas holidays
over, our attention is directed
North and South, as well
as to our immediate surroundings,
with the result that there
are conflicting tendencies
evinced in even the stay-at-home
models. For some are seeking
Summer frocks and their accessories—they
must be in the
mood of that season; others are
seeking the warm wools and furs
of out door Winter sports; and
yet others are living out the
Winter within the confines of
the city, making wholly different
demands on fashion.
The latter group is, by far, the
largest, and is, therefore, our
first consideration. To them the
Winter mode is still of interest,
and for them it offers its variety
and its luxury. As it stands at
the present time it will be written
down in the history of fashion,
for designers have long since
turned their attention to the
needs and requirements of the
Summer months. There will be
no change in materials, colors or
lines, so far as Winter fashions
are concerned, though the midseason
offerings will be touched
with unusualities that are, in a
sense, prophecies of what lies
ahead. Before considering these
prophecies it is well to review
the high lights of the mode, for
they show whither we are drifting.
This may be said—the voyage
bids fair to be pleasant!
Whatever the component
parts of this Winter mode, it is,
in itself, a very definite step
toward formality of the feminine
sort. It would not be possible
for it to take this step were
it not for the fabrics, colors,
lines and details that comprise
it; for this reason they assume
importance, and, in a lesser
measure, for their own individuality
and beauty. After all, it is
the trend, rather than the reasons
for that trend, that adds
chapter after chapter to the
style book of the centuries. And
it has been many seasons since a
chapter contained news as interesting
as the one that is now
being written. If we look back
a bit, we can see that the way
has been paved for a change;
only after a full ten years' time
has it finally been effected.
We all know that the direct
fashion result of the war was a
mannishness, and later a boyishness,
that was most inconsistent
with the more mature type of
woman. But as we look back we
can see that as time passed fabrics
grew softer and more supple
; colors became more beautiful
and important; and with
every new season there were attempts—not
always successful
—to introduce more graceful
lines, a break, so to speak, in
rigid straightness. And this season
we note a definite change.
The mode can no longer be characterized
as either mannish or
boyish—it is feminine, and its
femininity possesses a formality
that is a distinct departure from
the informality that was consistent
with fashions ruled by the
sports theme, or the rigidly
strict tailleur.
From the earliest hour of the
day, whether the choice be
sports or tailored things, severity
gives way to softness. Materials,
pliable and supple, are luxurious,
even the tweeds and novelty
mixtures possessing this
characteristic. Satin and velvet
or velveteen, the crepes and
satin are used generously in
these two groups, and to beauty
of material the designer adds
beauty and intricacy of line, and
the softening touch of lace.
Afternoon and evening attire
make much of chiffon, Georgette
and velvet; the metal brocades
and laces, and fabrics with a bit
more body to them, as satin and
taffeta, for the bouffant models
that are approved for evening
wear. Ingenious and intricate in
cut, a frock for wear after the
noon hour possesses real formality.
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