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by Jessie Tait,

sketched by Petrov

FROM the Autumn GLORY BOX!

Milady Can Ransack a Richly-Varied  

Store of Chic Styles

THERE is extraordinary variety to be found  

in the new autumn and win- ter mode. No one silhouette

rules. Side by side with bouf- fant picture frocks you see

streamline models. Directoire suits rub shoulders with pencil-

slim modernities. Cossack hats

tower opposite shallow pill-boxes. There are bustle effects and tightly moulded bodies. Freedom of choice prevails in this new mode, and every woman can choose for herself.

P E T R O V  

* GREY sheer wool is

used for this dress and jacket. The edges of the collar, cuffs, and hem are fringed. A touch of color is added by the wine velveteen bow and bag.

* A BROWN crepe after-

noon frock has the new peplum effect   with tiny pleated godets let in. Coffee

colored lace makes

the cuffs and two cop- per clips trim the neck.

* A NAVY-BLUE slim-

fitting wool coat has the appearance of a dress; it buttons at the left side. The navy blue fox collar is de-

tachable.

* THIS smart afternoon

frock is of string colored crepe. The sash and lining of the cowl neckline are of nigger - brown satin. The sleeves are split and piped with brown.  

* ONE of the new hairy

woollens in a tawny yellow shade fashions

this dress and coat.

Brown velveteen for the coat lining and

bow.

FOR the day dress the basic

silhouette is as narrow as a whistle, but this straightness is a foundation for enthralling variations. Tunics, peplums, capes, bunchy collars.

The skirt is always straight and narrow, and in nine cases out of ten split at either side or in front. It is slightly longer than that of last year.

Little peplums come from the waist, and there are scores of tunics of every

length.

There are many simple dresses that   have their interest in fabric rather than in complicated cut or trimming. These are straight up and down, with long, tight sleeves, high, softly drapad necks, and wide belts. Often the dress is com-   posed of two pieces—the skirt and hip  

length jumper—but made so that it gives the appearance of an all-in-one.

Bodices are slightly draped to accentu- ate the bosom. Necklines are mostly highish, but softer and more becoming. Any trimming is placed above the waist, the only exceptions being the peplums and tunics. In all instances the skirt is plain and almost always cut on the

straight.

There are lots of scarves tied at the throat to soften the neckline, made of velveteen or brightly-colored crepe or plaid taffeta.

SUITS all show straight skirts with splits or pleats. Great variety is seen  

in the jackets.

There are tunic-length coats fitted snugly to the waist that flare out from the waist and are finger-tip or knee length. Equally new is the loose, straight hanging coat that has replaced the swagger (it is fitted in at the waist, but hangs open). It varies from finger-tip to seven-eighths length. There are cut- away Jacobin jackets that are double breasted, and coat-tailish behind.

Then there are the ever-popular  

tailored suits with short jackets finish- ing below the waist. These jackets are  

fitted tightly and just meet in front, or they are box jackets, that is, double breasted with a square look in front. This latter style is very popular in Paris just now.  

Schiaparelli shows a suit of black wool with a narrow band of Astrachan around the high neck and down the side. These box jackets are worn a great deal over plain, simple dresses that are often un- belted.

One of cinnamon velveteen goes over a cinnamon sheer wool dress. The jacket has eight buttons, four at each side of the front. Molyneux shows red and green jackets to be worn over black dresses.

Many of the bottoms of jackets and the hems of skirts are fringed about two inches wide.

The use of different woollens in the same color (one with much surface in- terest, the other plain) is evident every- where. Also the use of contrasting woollens (one plain, the other striped or

checked).

Your Ensemble

COATS and dresses are very useful for

the time between summer and

winter. Light wool coats over crepe frocks, or the two pieces in sheer-wool.

Coats have slightly fitted bodies about the same length as last year, slim and sleek as possible. Sleeves are definitely straighter and simpler. Lots are belted. There is a revival of the double-breasted line.

Have your fur collar separate. Stole collars that come off, fox capes that are detachable, fur scarves that tie round the neck.

Your coat may match the dress in color, or be entirely different. Some combinations are: A black velveteen coat over a green dress; a grey coat over navy blue; brick-red and dark blue; yellow and brown; yellow and black; black and tan; green and brown; navy and red; navy and green.

Smart Colors

BLACK is used for half the autumn

models seen in Paris. It is often relieved by a bright color in the shape of a brilliant red, green, or yellow scarf or vest. Navy-blue is still used a great deal, especially when combined with dark red.

Green is the most favored color after black; bright bottle-greens, strong, dark ones, and rather bright yellowish ones. Leaf-green and tan are combined. Brown has stepped into the limelight once more.

The new shades are coppery, cinna- mon, and tan. Gloves and shoes have been created to match these light brown fabrics. Bishop's purple is used for formal afternoon frocks. Bright yellow tweeds and sheer wools, old gold and tawny-yellows, port wine-red, prune- brown, purplish-blue, and blackberry make winter top-coats. Grey is used a great deal for dresses and suits.

THERE are smooth, sheer wools and

rough, dull crepes. Silk materials are firm and heavy, and there are silks with long, sleek hairs growing from them like

fur.

Hairs sprout from nearly all the heavy wools—they look so furry you want to

stroke them.

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