Show simplicity simplic i try los loses es in S spring P ring S styles ty I 1 es there 1 la a hairline distinction between mild revolution and emphatic evolution and we are uncertain as to which term would bo be preferable in evaluating tile spring styles of 1025 writes n i paris fashion correspondent in tile the new york herald tribune it Is true t that hat tile the new mode hns not shaken the foundations of fashion tile the smart women of 1025 1925 do not appear to you to be radically different from their predecessors of last year you will grant the differences in silhouette hot lette and de fulls perlin perhaps ps hut but you may bo be inclined to observe that the for bruited spring stylo style changes have leave been substantially teapot tempests closer analysis however will prove tile the fallacy of the obvious save only tile the hut hat which lias has successfully resisted all attempts to enlarge nud and grande grand dani danielne elze it tile the various components of the new mode mark essential essen tint departures par tures from tile themes th ellies of last year tile the tubular silhouette tile the wraparound straight glit coat the endless instances of youthful simplicity have all joined the lie innumerable caravan and even the lady cannot mourn their passing neckline waistline sleeves and hemline have till all undergone decisive changes cli anges and if you add to this tile inal final de of if the straight line hue silhouette the beginning of tile new fashion cycle cannot be denied the first arid most salient fact about the new spring styles as chosed by the paris haute monde tit at social functions Is the unusual coro corn catlon of cut that Is evident in tile the smartest costumes the reign of simplicity Is definitely over till and spring clothes are nil all cut up with gores darts flares panels and the like the chemise frock with its two scams it B horn hom and a cutout cut out oval for the neck Is nowhere to be seen it Is replaced by the apparently simple gown with a n flaring skirt which Is intricately cut and makes use of all of the above named technical devices of the muster master couturier at this time it appears that the amateur seamstress with a length of goods scissors needle and thread Is going to have her difficulties before achieving a smart gown this season coats and blouses have also left simplicity behind them end of the simple mode in the first place the simple straight line silhouette Is no longer featured by tile the really chic almost ill all spring models ilive a flare somewhere either in tile the skirt the blouse or tile the sleeves and sometimes in nil all three true you can still find straight lines but there la Is a decided and definite intention on the lie part of paris style creators to do away with them per so three silhouettes have taken tile the place place of lip tube tilbe tile silhouette with a flaring skirt usually concentrated in front tile silhouette with a 13 bel je jc chiffon trimmed with embroidery light gold threads real blos o waist and scant skirt unit and the silhouette with exaggerated sleeves breaking enking br the straight line all hurts of loafing floating panels and similar illar frills tild in tile of the bux bus like outlines of the lust few seasons the big four lines of fashion tile lie neckline line tile the waistline the and tho the obviously play an essential part in this changed silhouette necklines klines uro are usually decorated by collas und and big how bow ties particularly on oil daytime frocks on evening gowns jeweled hands bunds bended beaded necklaces and diaphanous viny vary vin y ing from more mere wisps of if tulle or chiffon to meter wide full length veils bells make for a flowing graceful grac gra efu cern line which Is the keynote to tile clue chic spring silhouette chanel litis very few models with plain unadorned necks Is using collars anti and bands on many of her recent models jeun jean makes clever use of dabols jabots of it a new type and of collars to change tile the neckline jenny gives character to her simplest frocks by small inset yokes of contrasting material over which are imposed collars in V shape that tie in bows nt at the back of the neck uses small embroidered collars or collars of linen and pique on daytime costumes and worth employs the collar and scarf again and again on ills choicest models waistlines Waist lines have shifted and are ara still shifting jenn jean with hla his american english ard french mannequins has demonstrated that the normal and near normal waistline Is flattering natt ering to most figures ila he either shows allows tile the title line definitely by means of belts on sports and street clothes or indicates it by shaping the soft crepe of his afternoon and beige alpaca dress with black ascot ascol cravat and silk cording evening models to fit at these points uses a sliding waistline high in front and very low in back just a 0 line flat that Is marked by a movement of ills his side circular or platted plaited drapery drecoll and bernard place tho the line below tile the hips hills and chanel uses an irregular line that comes to normal in front and tit at the hips in back low waistlines waist lines are still affected toy many Parl and in most cases the line irrespective of where it Is placed Is made significant by a girdle or trimming of some kind at the Hi Ill where tile the waistline Is fair ly normal are the beginning point for inset panels plaited or circular float ing panels ruffles and gobets in short they mark the starting of the flared skirt which Is the hallmark of chic tills this spring on the blouse waist the hepline hipline I 1 Is a the dividing point between the full upper portion and the straight skirt hellines hemlines Hem lines tire often irregular and the newest line Is slightly higher in front than in back lelong and chanel show such lines and so does worth scalloped and pointed henis hems tire are considered smart and floating panels panes longer than the skirt give variety arlet madeleine Is curving the silhouette inward above the hips and out below and she Is making rayed bod lees corning coining to u R point on the right hips the tie rays being indicated ili by star mar pointed tucks tacks lines of hem stitching and ami with avith tiny hands of lace the gentle art 0 knitting for practicum ticul purposes nothing ling haa ever taken the place of a costume of tine line yarn varn knitted or crocheted crochet edby by hand to gle give it that suppleness and pala pliability only by tile the work of individual fingers from cannes comes coines word that practically every woman of note has bus ap pearel in tile llie little two piece gaii 1 model designed originally by cahnnel Cl innel which ha lias been the inspiration of if similar costumes differing only in slight det details nIls for every sports purpose there Is an sweater lu in thy the spring mode varying from the abe lacy incy short sleeved model hand knitted or crocheted on largo large needles and worn over tile the simple frocks of crepe de chine to tile the mannish suits composed of a tal tailored lored coit co it und the chanel skirt with its inverted tm cited plait fashioned of yarn yam in the smartest they provide a suitable hul table costume tos tunie for every climatic change and one that does not lack in the essentials of elite and charm an unusual model which will un doubt edl y achieve a late spring and suni summer nier vogue ORUP shows clearly t the ile I 1 influence n of vert certain itin style tendencies ifju brought to AnI america erlea by tile the prince of wales enles on oil ills visit last fall surprising its as it inny seem the 11 impetus Petus given to fashion by tile lie sartorial taste or of the pran prime e affected feminine modes quite us as much us Is masculine and tangible evidence el dence of tills this IF I 1 alv given e n by the I 1 introduction 13 tro this spring of a hand knit ted sweater sw enter cout double breasted in defect with tiny plaits at the sides to accentuate a natural waistline and ancl fastenings of nickel half ball buttons |