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Show PANEL USED ON BACK OR FRONT I Prominent Paris Modiste Places I Favorite Ornament in a New I Position. I GREAT VARIETY IN SLEEVES B I Some Narrow and Tight Fitting; B Other Close at Shoulders, Widen B on Way Down to Wrist; Klmo. B no and Hanakerchlef Styles. B Kvcrbody hns awaited with Inter- B est the showing of nuw models for the B w Inter lr Mudclelne Vlonnct, wonder- B Irs, us It were, If It would bo possible B for tills urllfit to keep to her Individual B styles and still arrive ut the much de- B sired "something new," In her collcc- B tlon, writes a I'urls, fashion corres- B pondcut In the New York Tribune, she B again demonstrates her genius In ob- B tabling maximum effect from mini- B mum deconitlon. B Complicated cut with an ultimata B line of great Rlmpllclty Is still main- B talncd. The flying panel, which she B uses so much now, ornaments tho mid- B die of tho back or tho front of the B dress and no longer appears on the B sides. Sometimes It appeurs on both j B tho front and back as In dinner dress. : B It Is developed from vvhlto crepe do B chine. A cabochon made of brilliants B and pearls ornaments both tho front I White Crepe de Cniiio Dinner Dress With Floating Panels at the Center Front and Back of the Skirt. and back, of the dress at tho waistline, aencrally speuklng, sleeves are narrow, nar-row, some of them being quite tight fitting; others are close at tho shoulders shoul-ders and widen a Uttto on tho way down to tho wrist. Some nro cut very wldo at tho urmholo and are so shaped as to snugly encircle tho wrist. Cape Collar In Jabot Form. Tho wldu square-cut hundkerchlef bIccvo Is again seen, with a small underelcevo forming a semi-narrow cuff usually in contrasting color, Tho long, tin gel slecvo In modified form Is also Is evident. Vlonnct bus many little capo effects and curious capo collars which aro a part of tho sleevo or tho back of the dress. A ijplcal model of this sort has an Interestingly cut Jncket in short bolted stjle, and hns a walstllno bhoul-der bhoul-der cape which Is a prrt of the light fitting, full-length Meeve. It Is accompanied accom-panied by n perfectly plain skirt. A novel feature Is a white ermine collar In jabot form, which Is In striking contrast con-trast to tho black vehot. A distinctly new feature Is the Jabot collar and frill, usually developed In fur. One finds this on tnllor-mado dresses, on fur coats and on afternoon dresses of crepe do chlno and satin. Sometimes tho juhot frill Is so deep as to appear like n shoulder capo when Dress of Brick Red Velours de Lalne In Chemise Form, Inset With Diamond Dia-mond Shaped Pieces of Duvetyn. turned down, but when up and draped around tho neck It forms n frilly Jabot-llko Jabot-llko collar. i A street dress of this character Is In chemise form, davclopcd In brick red velours do lulno Inset with dla-niond-sliupcd pieces of duvetyn In the sumo dull grny of tho cape, which Is of gruy astrakhan. Dancing Frocks Feature Petaled Skirt Another curious novelty Is a shoulder shoul-der extension in tho shnpo of an I enormous scarf, which, starting from , the point where tho shoulder scams might be. Is a continuous cut from 1 the front of the gown. Thcso long ends hang over tho bnck of tho garment gar-ment In swinging scarf ends about thrcc-qunrters of a yard wide and reach to the hem of tho skirt. Sometimes Some-times these scurf ends are crossed at the back. In which enso they form n muffling collar and enpo wrap. Vlonnet does not use tho exaggerated exagger-ated length In skirts. Practically all her skirts aro well above the ankles, and, generally speaking, they uro nar row. Tho large petaled skirt Is a marked featdro of her dancing frocks. Not n few of Vlonnet's dresses huvo tho almost straight skirt. A new form bus nn Inverted plult at tho right side. At tho left there Is a scarfllka con-tlnuutlon con-tlnuutlon of a turned-over top which turns to form tho glrdlo and ties at the left sldo with long, flowing ends. Sho works out tho sumo Idea In connection con-nection with u collar. Following n medium bateau outline, this straight band ties on one shoulder with long ends and loops. Vlonnet's colors are, first and foremost, fore-most, belgo In full gamut, with accompanying accom-panying shades of reddish chestnut and golden browns. She still uses dull brick reds In both woolens for street suits and silks for afternoon dresses. There Is very little black except for coats. |