VOGUE

CHRISTMAS

Above the text, an illustration of a holly branch

On brisk and gay the autumn has been with weddings, two of which were emphatically red-letter functions. Then followed the Horse Show, always a dashing affair-a gathering of smart men and women, fine horses and equipages, and showy parade of beauty and gowns, boxed off and ticketed for the gazing multitudes in genuine peep-show fashion. Men were in their best form, and came in for their innings fairly. Gallantry, grooming and good looks told with capital effect in the brilliant picture. Now comes the finish of our yearly race, with Christmas shopping on the tapis. We are all engaged at this moment in thinking much more about the presents we have to make, either from obligation or affection, than of what we are having made to wear, or planning to order in the near future, or wearing at the present moment.

The world will bear witness that we are in our apparel as smart as possible; our street gowns, hats, furs and the rest as faultless and as fit as it is possible to have them. The only visible neglect is that we are quite late-and we always are in preparing for our toilettes de cérémonie. We shall have to do all that in a rush, as January is only three weeks off. But, apropos of the shopping and the gifts, whisper it not in Gath that books, pictures, silver, glass, china, etc., are to play a decided second fiddle, this year, to jewels, laces and furs, particularly the last of the trio. All my cousins and my aunts are talking fur, fur, fur. What wonder, when the creations are so lovely! A Christmas list reads off like a menagerie inventory. You will find seal, otter, monkey, beaver and bear; ermine, chinchilla, mink, the lambs of Persia and Thibet, fox and lynx. By the way, there is a new departure in making up lynx and fox in their natural skins.

Lynx abounds in lovely coloring, the yellows paling into white, and the long hairs flecked with many shades of gray. Thibet is dyed every color, to match different cloths, and astrachan has gone a peg higher in exclusiveness than its once proud rival, Persian lamb, because the latter is now so well imitated by the manufacturers. The medley of furs now considered the chic thing has brought about a pooling of furs in families, by which elder daughters profit, and younger ones are better satisfied with newer purchases at less value. De gustibus non.

Now for un petit mot about ball and dinner gowns, for the dinner-dance season is staring us in the face. We all know the succés of flowers and tulle last year, and we are glad to learn that both are to reign in ninety-six. All kinds of nets, gauzes, lisses, and the newest and sheerest of grenadines, flowered like watercolored pictures. I hope the débutantes at the coming Patriarchs will scorn silks and satins for their gowns and pay tribute to their own youth and beauty in tulle, the ideal frock for that

Now for un petit mot about ball and dinner gowns, for the dinner-dance season is staring us in the face. We all know the succés of flowers and tulle last year, and we are glad to learn that both are to reign in ninety-six. All kinds of nets, gauzes, lisses, and the newest and sheerest of grenadines, flowered like watercolored pictures. I hope the débutantes at the coming Patriarchs will scorn silks and satins for their gowns and pay tribute to their own youth and beauty in tulle, the ideal frock for that enchanting occasion.

The rosebud element will monopolize the strictly floral gowns they are theirs by natural right, but all young women, matrons or maids, it is to be hoped, will array themselves in them for the beauty and becomingness of this poetic fashion.

As an example of devotion to a flower, the gown in question is trimmed with myosotis or forget-me-nots. There are two immensely full skirts of white tulle falling over a gupe of white soie de Lyons, and all three skirts are gathered on one band. The tulle skirts are hemmed, with a vine heading embroidered in white floss, exceedingly dainty and effective. The collet corsage, draped in double tulle, rises into a slight point, back and front, and is headed by a full garland of forget-me-nots, which form shoulder straps to the bodice. The sleeves are made of many thicknesses of tulle caught under the flowers on the shoulders and draped so as to expose the arm in front, and then draped fully into the armhole in a bouffant way. The sleeve is finished at the elbow by a band of a sky-blue velvet, matching the bouquets which are coquettishly fastened on the outside. garland of myosotis is worn round the throat, and connected from this gorgette to the décolletage are eight floral chains, slender and lovely; three in the back, three in the front, and short ones on each shoulder, which fit over the neck perfectly. The girdle is of sky-blue velvet, fastened in the back with a smart bow. white aigrette, supported by a knot of forget- me-nots, is posed a little to one side of the head, the hair being dressed in waves, rolled off from the face, and pretty, careless coils in the back running up into a little knot, with a drooping wave curled in the middle of the forehead.

Another charming gown has floral effects derived from exquisite silk embroideries, the newest of the fine trimmings. A satin skirt is the foundation usually for these transparent draperies of tulle or gauzes favored by matrons young and beautiful.

The skirt, in this instance, is cream-white satin, and the tulle overdress a pinkish-mauve, but instead of being hemmed is only doubled, then gathered at the waist, and afterward shirred a little distance, say nine or ten inches below, and drawn down snugly to the figure and tacked to the satin gupe. Two broad bands of silk embroidery, roses in every shade, start en tablier at the bottom of the tulle skirt and are graduated a little toward the waist, leaving space for a pointed girdle of the same embroidery to show between and encircle the waist in a narrow belt, fastening on the left panel with a bouquet of violets. Corsage bébé, V-shaped décolletage, headed by a broad band of this lovely lisse embroidery, with bouquet of violets on the left shoulder. White satin elbow sleeves draped with tulle so as to show the inner side of the arm, across which are two narrow straps of embroidery. Hair dressed low on the face, a few short curls in the back, and run through the top a superb jeweled hairpin, a triple diamond aigrette. The necklace is an almost invisible gold chain, from which is suspended three enormous jewels, a diamond in the centre, with ruby and emerald on sides.

Below the text, an illustration of a holly branch

WHAT SHE WEARS.

BEAUTIFUL BE-FEATHERED OPERA MATINEE HATS - ONLY BOX OCCUPANTS MAY DISPLAY THEIR HATS DURING PERFORMANCE - NATTIER MODEL COMMENDED COSTUMES FOR CALLING AN ESPECIALLY PRETTY SHORT SKIRT MODEL — BRONZE AND OLIVE GREENS POPULAR- UNDEFINED PLAIDSFEATHER ARRANGEMENTS

An opera matinee is sure at all times to bring out the street fashions in strong force. Particularly true is it at the November opening, and this year it has proved a brilliant example. The beplumed hats assisted with telling effects. It is one thing to pass on the street these showy long plumes in white, in blue, in pink and yellows, and quite another to sit from two to three hours gazing at them from time to time. Feathers in tips seem to have almost disappeared. In half lengths they are now disposed at most audacious angles, and bunched up into threes or fives. They plunge out from the left side of velvet hats with upturned brims in a rearward direction that is most original. They rise from uptilted and very much trimmed backs of hats in stunning bravado. They cross the crowns of smart hats from one side almost to the other, and over, and sweep quite far forward upon others. As for the under brim feather linings, as well as the tosssed up crown groupings turning this way and that, they all bespeak a skill for posing, and a control over the feather that never has been as complete as it is this season. The pity of it all was to see these exquisite perishable creations taken off and held on the laps. The box contingent is in that respect to be envied for keeping the hat on the head.

[An illustration of a woman in ornate dress wearing a great, feathered hat.]

BOX HAT IN PINK

The charming Nattier styles, and the very low crowned Watteaux should become a fixed opera and theatre hat, so easy are they to take off and put on, and of the least trouble to keep on one's lap, for plumes and feather trimmings rightfully belong to those in seats where hats may be worn on the head throughout the performance. Beautiful were many of the box hats. For instance, one in pink velvet, with a side tilt that seemed every moment to be losing its balance, had its brim lined with pink tinsel cloth covered with pink tulle. Five half length pink plumes toppled over its crown and hid it completely. The brim in the rear of the crown was also invisible, but in front there was a glimpse of it bent down upon the hair and on the right side. The shape of the head as well as the dressing of the hair counts for everything in hat styles of this character. Another irresistible fascinator was in white felt, and had its crown, which was rather high and covered with a fold drapery of straw-colored chiffon velvet further ornamented on the extreme edge in the back with a long and compact bunch of silvery white aigrettes spreading backward with a dash. The right side edge of the brim of this hat almost touched the beauty's eyebrow, while on the left, the uptilt showed off the whole head. At the same marvellous angle was posed a white silver cloth creation, showing its sheen only upon the brim. The crown was extremely large, having a wrinkled drapery of pale blue velvet very full and gracefully disposed. In the most picturesque manner were France roses in their dainty pinkness, grouped into a garland on the left, a few roses swinging below the brim line on that side which was abridged for that particular effect evidently. For pure coquetry no hat has ever excelled it.

[An illustration depicting a man in fancy dress, wearing a large coat and top hat wearing a cane. In front of him is a fancily dressed woman wearing a dress with puffy sleeves and a hat with feathers and a sort of veil.]

NEW COIFFURE

One coiffure there was that stood out from all the rest on a recent night performance. It consisted of two large scarlet and white velvet tiger lilies grouped with two or three dull green velvet leaves, and a Paradise plume of silvery whiteness springing from the midst. This coiffure was posed slightly out of the middle line on the back of the head (the hair being dressed high), but leaning a trifle toward the left side. A copy it is said to be of a coiffure worn at the popular French play called La Belle Madame Héber. It marks a new departure, taking the place of a theatre hat.

There seems to be no chance, however, this season to oust the famous large picture hats, or the smaller styles just described. What may happen in the autumn of 1906 remains to be seen.

[An illustration of two women in fancy dress. One stands, holding a dark purse. The other sits over a tea set.

SMART THINGS HIGH-PRICED

If ever there was a time when so-called poor relations might joyfully accept presents of things wearable, it is undoubtedly this year. The advance in prices for really smart hats, costumes, evening wraps, sets of furs, or of ostrich and marabou puts the small-income sisters, aunts and cousins of the rich in quite a trying situation. No small economies can overcome the rise to the fabulous sums that are asked at the smart places.

HALF TAILORED STREET COSTUMES

Street costumes for forenoon wear are worn short, and will be. But there are cloth costumes only half-tailored, which are quite elaborate, and expensively trimmed, the skirts of which are long. These are, of course, specially intended to pay visits in, or to wear upon any ceremonious occasion. Ladies' or chiffon cloths in single colors are for these, the best style. The length of the skirt indicates that the wearer, if she walks, must take it up. Hansom and cab-hire has become so general nowadays that few will be inclined to go through the weariness of carrying their skirts in the grasp of the hand. Many dressy cloths and velveteens in short-skirted costumes mark the independence of those who are to make their calls afoot in the season.

A SHORT SKIRT MODEL

When a choice has to be made among the short-skirted tailor-mades the many models shown are so charming that it becomes a difficult matter to order. There are complex designs that appear quite simple in the sober colors, but are very ornate in cloths of lighter shades. A long tab design, cut in one piece with the yoke or with the Princess girdle top , is extremely graceful, as full plaits are set in to suit the figure or lessened as the demand arises. Braids to match the cloth or glossy black silk ones in some way or another enter into the bottom skirt trimming. It is kept in most cases quite low on the bottom, and not at all conspicuous, the main object being not to detract from the length of skirt line. Passementerie motives are introduced with soutaches, while wider braids produce of themselves sufficient effect.

BODICE TREATMENT

The close-fitting bodices receive color bits upon their revers, mostly very small ones, or have flat shapes in color laid on about the neck, lower down upon the belt, and both in front and in the back, as well as upon the bottom of the sleeves. Buckle ornaments are put in pairs upon the belts or as an ornament on the top of princess girdles both back and front. This finish is a very smart one. All the bodices keep up either Eton or bolèro suggestions. A few exceptions adopt the basque line or the postilion, but these are not found among the younger slim figures. Shoulders are, or should be, kept on broad lines; there is no style without that feature in tailor-mades. Some sleeves have less fulness than others at the top. Both long and elbow sleeve lengths are worn.

[An illustration of a woman in profile, wearing the same sort of hat as described. Behind her is a table with a lamp.

[An illustration depicting flowers and two doves nesting on top.]

Among some extremely late coming tailor models long sleeves prevail, Lace chemisettes give rise to openings at the neck that are exceedingly becoming, and stands for no end of smartness in these costumes.

BRONZE AND OLIVE GREEN

As the season advances bronze and olive greens increase in color distinction among the cloths and velvets. An example in olive green in the finest of cloth, had for trimming, an inch and a half black brocade galoon. It was a two-piece suit, a closed Eton and skirt. This galoon from shoulders to hem in front gave long lines in even rows, the cloth between being cut into a flat flap, which raised itself sufficiently to keep the width of the galoon intact In the back these long lines were pre-served, giving a tapering effect to the waist which was belted in with cloth to match, but also had shaped oblong applications of light grayish-blue velvet, over which were motives of black silk passementerie. A turn-over collar, now the accepted finish of all the best tailor-mades, and in this instance it was not wanting. It was also of blue velvet, over-applied with black passementerie. The bottom of the sleeves repeated the same ornamentation, while upon the fronts of the Eton, on the bust line, were two black pieces similarly treated. Charming indeed was this trimming effect, while the galoon in its glossy flatness seemed to be woven into the cloth, so admirably was it sewed and pressed.

[An illustration of a woman in profile with an updo.]

TOBACCO-BROWN COSTUME

Of the utmost attractiveness was a tobacco-brown cloth costume, short skirted, as well, with a low crutch design separating the plaits, and in the same brown shade as the cloth. On one edge of this brown silk Hercules braid was a narrow raised brown satin cord gimp, which, when sewed on, gave a special accent to the long crutch lines that ran up from the bottom, and were lost in their diminutive ending. A panel front had the cloth cut into graded crescent lengths from top to bottom, a darker shade of brown silk showing underneath. Crescent was finished by the narrowest cord inlet and stitched to flatness.

The same trimming displayed itself upon the sides of the sleeves from shoulder to cuff, and gave a yoke line back and front, in three graded rows beautifully proportioned in their size. A touch of gold galoon brightened up the turn-over brown velvet collar, as it did the straight cuff pieces; while a glimpse of both velvet and gold suggested an inner vest line in perfect harmony. All the fastenings in front were quite invisible.

INDEFINITE PLAIDS

Those almost undefined plaid cloths in greens or bronze with reddish and dark blueish shad-braids of silken blackness are twisted into a telling design upon each side of this straight band. A Norfolk style of short belted-in coat, with a red cloth collar and cuffs, the black braid again used as trimming and a few gilt buttons laid upon the belt and the fronts produce a markedly good and out-of- the-common style.

[An illustration of a woman in a dark dress and large hat. In the background, the shadow of what appears to be a man in a horse-drawn carriage.]

SEEN in the SHOPS

Skating Sets to Play Up the Latest Sport, Pretty Boudoir Things for Christmas Gifts, and Two Practical Waists for a Balance Wheel

Illustration of a woman wearing a checkered scarf, hat, and muff.

Since skating bids fair to succeed dancing as a fas, a skating set of velveteen and chiffon velvet is one of the most acceptable fights; hat, $10; scarf, $15; muff, $40

Illustration of a woman wearing a white dress with colored linen suspenders.

Something new is a combination of white and colored linen in a suspender waist that launders beautifully; $2.95

Illustration of a woman wearing a simple blouse with buttons, wearing a striped belt and plain skirt.

Particularly good in a simple blouse is the new heavy silk called silk broadcloth; in white or flesh color; $5.95

Illustration of a woman wearing a striped scarf with a fluffy hat.

Black and white striped velvet line with brilliant green velvet forms the scarf of a skating set; the hat is like the scarf, with a gay worsted trimming; hat, $12; scarf, $15

SIMPLE crêpe de Chine negligées of the type illustrated at the lower left make most acceptable Christmas gifts, because they are practical, as well as attractive; crêpe de Chine is the most serviceable of materials for this purpose.

The model shown may be had in pink, blue, or white crêpe de Chine, or it may be had in other colors to order. The fichu, edged with a narrow knife plaiting of the crêpe de Chine, is practically the only trimming. Knife plaiting also appears at the Empire waist-line in both front and back.

The model sketched in the middle at the bottom of the page is also of crêpe de Chine. The front is softly box plaited, and the back shows two groups of box plaits at each side. Delicate lace of a lovely pattern is used around the neck and to form the sleeves; the flowing coat of chiffon cloth has angel sleeves.

A CAP AND A FLYAWAY PETTICOAT

With the negligée just described is a boudoir cap of chiffoncloth and Binche lace. The cap is made entirely by hand and is trimmed with a satin rosette at each side, which is the only decoration. It may be had in flesh color, pink, or blue chiffon cloth. Petticoats are so much in demand that the model at the lower right would be most acceptable to the girl who is fond of fluffy things . The top is made of soft French taffeta, and the flounce is of plaited chiffon, with a ruching at the bottom. Bows and streamers of taffeta ribbon trim the ruffle. The petticoat comes in light colors.

The underbodice with the petticoat has been made to order to match the skirt. It is of ribbons and plaited chiffon.

PICTURESQUE SETS

The two skating sets illustrated on this page are most appropriate as Christmas gifts. The one at the upper left is of smart black and white checked velveteen and red chiffon velvet. The skating sets are exclusive designs of the shop which made them.

The set sketched at the upper right is of a black and white striped velvet, lined with a brilliant green chiffonvelvet. The hat is of the same combination, with a fur band and a gaily colored worsted decoration of fruit.

Very simple is the heavy silk waist in the second sketch from the upper right. The material is the new silk broad-cloth. White silk is used on the collar and cuffs.

Second from the left is a suspender waist in pink and white, or blue and white linen. Hem-stitching marks the division of the materials. The collar may be worn either open or closed.

Illustration of a woman wearing a pink, blue, or white crêpe de chine negligée.

A pretty as well as a practical Christmas gift is a crêpe de Chine negligée with a surplice bodice frilled with narrow box plaitings; $11.75

Illustration of a woman wearing princesse negligées.

The princesse lines are as popular is negligées as in formal garments is proved by this crêpe de Chine model; negligée, $11.75; cap, $5

Illustration of a woman wearing a fluffy petticoat with chiffon and ribbon.

She who is fond of fluffy things will be charmed with a petticoat flounced with chiffon and ribbon; petticoat, $9.75; underblouse to match. $9.25

Note. – Addresses of the shops will be furnished on request, or the Shopping Service of Vogue will buy for you without extra charge. Address Vogue Shopping Service, 443 Fourth Ave., New York City.

Copyright Ⓒ 2012 Condé Nast

94

Illustration of two women wearing long pleated skirts with hats.

(Left) In the black velvet frock with stiff gold inserts, at the extreme left, the new kinetic silhouette gets its motion from a pleated circular front that swings free at the bottom. Beside it is a rep frock with a long tie collar and an intricately cut skirt section that moves gracefully with the wearer

Illustration of two women wearing long capes with fur trim at neck, bottom, and cuffs.

(Right) Capes or ingenious swaying panels at the back transform the static lines of last season into the animated silhouette of the moment. Both of these fur- trimmed velvet coats are plain at the front

Illustration of woman wearing chiffon dress with flying sections

The fluttering sheerness of chiffon lends itself especially well to loose hanging panels and flying sections of chiffon – a mode that calls for great skill and originality on the part of the designers

Illustration of a woman wearing a short cream and gold dress; smoking a cigarette.

This slim gown of cream net and brown and gold brocade, slightly moulded to the figure, finds all its motion in the frothy fulness at the bottom of the shaped circular flounce

Illustration of a woman wearing a long dress with an uneven cut dress so that it flares.

For evening, a slightly moulded bodice is often seen above an uneven skirt so cut that it flares with graceful motion when the wearer walks or dances

Copyright 2012 © Condé Nast

The Silhouette Moves!

Sketches

and

Notes

That Show the Modern Spirit of the Animated

Fashion of the Flare

(Left) The fulness and the pointed cut of the deep cape on this velvet wrap give it its animation

On these three models, the motion of the mode is obtained in three ways-by swinging jabots on the velveteen frock at the left, by circular cut in the broadcloth model in the middle, and by the wide semicircular front of the velours coat at the right

FLARES that spring from the front, the side, or the back, the circular swing of coats, the sweep of new capes, the flying lines of the jabot and the scarf, have all called into being a new mode--the mode of motion. The straight silhouette of past seasons was inert, static. The new, flared line is a living, moving, modern thing. The rough sketches on these two pages, showing clothes that smart women are wearing now, illustrate this theme of motion. The unfinished lines of these sketches, which have not as yet settled into repose, express the ever-shifting grace of the mobile silhouette. This is the impression presented by the new flaring fashions. Every step, every move displaces a godet, a pleat, a drapery, and sets astir a new dynamic rhythm.

It has been a long time making its way-this mode of motion. This winter marks its first general acceptance. We clung for a long time to the straight, restricted line, because it gave us so little trouble. It was young. It was simple. It was smart because it was simple and young. And, as long as we kept to it tenaciously, we could not go very far wrong.

But what has this new flared line to offer to offset the security of the old, familiar, tube-like silhouette? Vogue believes that it has a great deal to give in the furthering of a more progressive mode. Its first great advantage is its comfort. The straight line was made for standing still in a strenuous world keyed to motion. The flared line is designed for easy, unrestricted action. The new silhouette makes us less self-conscious about our clothes-walking, sitting, dancing-and more conscious of a new and exhilarating freedom and grace. Moreover, as long as the straight silhouette dominated clothes, the mode itself could not go forward. When two seams made a dress, what was left to encourage the invention of a Vionnet, who works with fabrics as a sculptor moulds his planes? What was left to stimulate the plastic skill of a Jean Patou, the kinetic, or made-for-motion, designs of a Lucien Lelong, the genius of all the designers to whom the making of clothes is an art expressive of its age?

Within the new conception of the flare, there is no end to the variations that are possible. The precisely tailored tweed frock, with its concealed pleats that flare only in motion, the chiffon dress with its flying scarfs and floating panels, are both in the same modern spirit. But each meets in its own way the demands of its fabric and the needs of the occasion for which it is especially intended. Not only does the flared silhouette give a wider scope to the designer, but it offers more individuality to the woman who wears it. While the straight line was becoming to the great majority-to the average woman and the average figure-,it had little to give to the exception. The woman whose charm is her dignity comes into her own this year, because she chooses the type of flare that will emphasize that quality. On the other hand, the slight, young girl now wears the new moulded lines, clinging and then flaring, short and free, to accent every lithe line. She adopts the Greek grace of a Diana, not of a Minerva-and the new mode offers both. The tall woman chooses clothes that will tend to shorten the effect of length. Even a short woman finds the particular kind of flowing lines that will make her look less square. The skilful use of flares can be made to bring out one's good points and to minimize less fortunate ones.

With the coming of the flare, we begin a new era of individuality-altogether modern, a little dangerous, and always interesting. There is no longer any single formula for chic. And just how the flare is to be adapted to its time and to its wearers is a story to be continued in many more issues of Vogue in the weeks to come.

Copyright ©2012 Condé Nast

4 illustrations of women wearing fancy hats. From left to right, the first woman is wearing a mixture of dark red feathers starting at the top of her forehead. The woman to the right is wearing a blue scarf with dark blue horizontal lines. The hat is similar with a blue feather on the left of her head. The woman on the bottom left is wearing a black veil with polka dots, her hat is a black circle with red and orange flowers. It is sitting downward. The woman to the right is wearing a dark blue hat with hints of orange and red. The hat is sitting downward covering the right side of her face

Mightier than the hat is the trimming. Paris is swamping tiny caps with feathers, flowers, veils

Glistening pheasant feathers almost pitch over your nose on Rebouax's microscopic antelope cap

Blue kingfishers alight on Rebouax's high cap of striped velvet. A scarf, too. Bendel imported both

A dotted veil, huge as a cap, goes over your head first; over that Agnès puts felt petals and gay flowers that pass for a hat; and over that the back of the veil again. Complicated but alluring

Glycerinized ostrich contrives that Gay 'Ninety Agnès hat that rises in the back to show your curls

(SIGNED) RBNV

Copyright © 2012 Condé Nast

(4 illustrations of women in delicate hats. Starting on the left, a woman is seen wearing an upturned blue hat, she has short curly hair and is wearing a pearl necklace. The woman to her right has short curly hair and is wearing a colorful hat with greens,blues, and oranges. The woman on the far right is wearing a similar hat to the woman on her right. She also has a red flower around her neck. The woman on the bottom is wearing a dark black cloak, her hat is black with a red bow.)

Ruchings of blue velvet upholster the façade of Suzy’s wistful poke bonnet of black felt, which rises abruptly to show the public your new high-above-the-forehead curls. Jay-Thorpe imported this

Ostrich tips and flowers that might have come out of an attic trunk are piled on a velvet toque (two views shown) that Suzy, tongue in cheek, calls “Petite Grand’mere.” Bergdorf Goodman has it

A mammoth veil—not unlike the old Russian head-dresses—drifts mistily over Talbot’s small black velvet skull-cap accented with colour, then floats around the shoulders. Saks-Fifth Avenue importation

57

Copyright © 2012 Condé Nast

156

Frances Mclaughlein

Debututante

Many happy returns to the Debutante Party (even without the old fine “careless rapture”). There is hardly one Debutante who does not include, in her daily schedule, work for some of the great relief needs, college course, Nurse Aid or Day Nursery work. But over this layer of serious ideas and genuine good works there is again this year the light but delicious frosting of debutante parties. Most of them will again be the great group presentation balls which were wartime innovations but there will be a few individual parties. The debutante this year may still not have a seven man escort as her mother might have had ; she will quite probably rush down for college for her own debut; there will be fewer fittings, fewer debutante luncheons, much, much less flurry. And although clothes may seem less important to her than to her pre-war debutante predecessors , she will probably manage to affix her personal signature to her own wardrobe; will know that it is not “ how many” but “how memorable” that really matters, when she chooses her clothes. With her beautiful white Coming Out party dress this season a debutante may wear a short crimson velvet or duvetyne coat. Wear wrist-length gloves in white , and carry a tight little white furs (opposite page). If it is not her coming out party,she will probably choose a colour. When it is not a party, but just a small dancing evening dress again, this season … black perhaps...bare on top as her debut dress.

A photograph of a young woman wearing a flowing, light dress and gloves.

WHITE TO COME OUT IN.

Beautiful, great-skirted ball dress made for Miss Betty Tyson by Herman Patrick Tappe of heavy silk brocade, plumed and embroidered with medallions of sequins, rhinestones, bugle beads. Miss Tyson daughter of Mr. and Mrs George Tyson made her debut in November at a party given by her aunt, Mrs.Geogre Mesta, in Washington

Above: Gold kid party pouch, room for a debutante’s make-up. 8 dollars, plus tax. Lord and Taylor. Above, centre: Delicate snowflake star pin of rhinestone with a fake pearl in its heart.(Because it is the perfect debutante jewel-touch, it is shown also on the white dresses on this page and on page 159). $45, plus tax By Castleliff; Jay Thorpe. Above, right: Little-group-grown-up coiffure for long hair, for evening. Swept back, held with combs, brushed into big soft curls;very nice with bare shoulders. By Micheal of Helena Rubinstein. Right: Young dancing dress, pure white. Very fitted, strapless bodice of rayon faille, slightly lowered waistline, looped-up rayon faille, skirt.Sizes 10 to 16.$80.Saks Fifth Ave. Ready Dec.15 Right,centre: Little round-collared cape of white Russian ermine,closed with bunches of ermine tails. Just to elbows, the better to show a tiny waist $425,including tax. Esther Dorothy. Far right: Short, squared jacket of white American broadtail wide sleeves, no collar. Equally pretty and proper with fragile dancing dress or after-ski clothes $165, plus tax. Bonwit Teller. Below: For long , shining hair, a white satin band iced with rhinestones on one side. $4 Altman. Centre: Made for dancing-in-white soft kid ballet slippers. By Capezio.$4.Lord and Taylor. Far right: White party dress with curved, off-the-shoulder bodice of rayon fallie ; a floating ribbon-banded rayon chiffon skirt by Ceil Chapman.Sizes 10 to 16. $80 Saks Fifth Ave. Ready Dec.15. Washable doeskin gloves by Kislav.

Gold kid bag very junior-sized

Evening star, Pseudo pearl and rhinestones

Little-girl curls young-lady coiffure for dancing evenings

Young, white,and bare-shouldered as a dress can be

Half-a-cape is best for young parties

Little party coat bolero-brief

White kid ballet slippers; glove-soft

For long hair stain- and- glitter

White party give it short gloves, star pins

The debutante comes in white.

[A photograph of a young woman in a simple room. She is facing away from the camera, showing off flower decals o nthe back of her dress.]

Debaunte party clothes (cont'd)

Almost every debutante comes out in white--but for all the other parties she will probably choose colour. She might choose one colour, make it hers. Might, for instance, wear grey jersey in the daytime, shadowy grey at night. Or young-black, all hours. Here two pretty, fresh debutantes in New York wear the non-white party dresses they chose. Both are tall, with a specifically American beauty; both at Barnard; both making their debuts Devember 1 at the Governor Neighborhood House Ball at the Ritz.

Debutante Grey (facing page) worn by Miss Pamela Pardee, daughter of Dr. and Mrs. Harold E.B. Pardee...with a low chignon, no jewels. Rayon marquisette dress by Ceil Chapman. About $85. Bendel's Young-Timers; Neiman-Marcus; Hatzfeld's.

Debutatnte Black (above). Miss Leila Pannel, daughter of Mr. and Mrs. Carter Pannell, wears a rayon marquisette dress pinned with snow-flakes, short white gloves; bands her hair with velvet. Dress, $35. Jay Thorpe: Wm H. Block; Vandervoort's.

[Photograph of a woman submerged in shallow water. She has short brown hair, grayish-blue eye makeup, and a red lip on. She is wearing a white strapped casual dress/swimsuit with a red pattern.]

[Top: a black and white image of a woman laying down on some sand. She has long, styled dark hair and is holding sunglasses between her hands. She is wearing a stiff, black dress.]

The fashion south: going swimmingly

And that's not said just for the pun of it. The fact of bathing-suit resort fashion is this: the smartest suits are all cut along the same new line-smart, simple, like a very good street dress, with sheaths and Empire waists predominating-but they're going about it in a beautiful, never-before variety of fabrics. The square necked sheath at left, for instance: it's embroidery in a new oceanic form--embroidered Orlon, Glen plaids are seagoing now; the one shown above is elasticized. And you might take the plunge now in a lighter weave of the same woollen your winter coat is made of--watch for bathing suits of tweed, camel's hair, Glen plaid wool suiting. Facing page: Bathing-sheath fashion in rare new form--embroidery that takes beautifully to the water (it's Orlon) and holds its smooth line (there's Latex knitted into this fabric, too). The embroidery: the newest vintage of red--the vin rose colour reported in November 15th Vogue. A Catalina bathing-sheath, $25. Best's; Burdine's; Hudson's; Marshall Field. Helena Rubinstein's Waterproof Make-up. Above: Bathing-sheath that's a Glen plaid suit--there's a short flare of skirt to button on after you swim. And this fabric (a red-and-navy blue plaid) has ideas about fit as well as about fashion; it's Celaperm acetate and cotton faille, elasticized to keep it in line. By Flexees, $18. Macy's; Shillito's; Burdine's. Sunglasses from Kobley & Stern.

[Photograph of two women on a beach. The leftmost woman wears a light-colored, short dress with a matching brimmed hat covering most of her face. The rightmost woman wears a dark-colored romper, also short in length, with sunglasses and a wicker-appearing hat. She leans against a beach chair.]

Newest woollens: ocean-going

Most news, at sea, since the "Nautilus": swimming tweeds, Empire-cut jerseys, and Glen plaid bathing-suitings. All these, from the Brigance resorts collection--where, annually, some of the summer's most adventuresome fashions for swimming get their starts. Far left: White tweed suit -- now ocean-going, Camisole neckline, close-sheathed cut. In basket-weave wool, about $30.

Near left: Empire dress--now ocean-going, Black jersey (Sag-No-Mor worsted) with a black satin bodice. About $25. Sunglasses from Koblery & Stern. Right: Glen plaid suit-- another new ocean-going woollen; and this sheath has flare.

In grey-plaided Stevens wool, about $30.

All three, by Brigance of Sportsmaker, at Saks Fifth Avenue; Julius Garfinekel;

L.S. Ayres; Montaldo's

Sally V beach hats, also at Saks Fifth Avenue.

[Photograh of a woman in a semi-transparent beach hat and plaid, button-up dress. She leans against a beach chair.]

Beach pants--tailoring at new heights

Whether they're strong on colour, or conservative, whether they're long or as short as shorts, the best new shirts-with-pants for the south look like this: as if they were cut and tailored on Savile Row (and on the oppoiste page, a London tailor actually did do the designing).

This page: Cotton pants in crazy-quilt colours, about $13. Cummerbund to match, about $3. Yellow shirt, tailored of Bates Disciplined cotton, about $8. All, by Owen-Morgan at Bonwit Teller; Wanamaker's, Phila.; L.S. Ayres.

Facing page: Near right, Bermuda-length shorts of navy blue British woollen mohair-and-worsted; lime cotton cummerbund. About $17. Navy blue Honan silk shirt ,about $18. Far right, sand-beige pants (also of mohair and worsted) with a precise, perfect fit, orange cotton cummerbund; about $18. Creamy Honan silk shirt with a classic cut, a modern approach in this sense--it slips over the head. About $17.

Separates, this page: designed by Charles Creed, These, and the Sally V straw hat: Henri Bendel.

Separates, also at I. MAgnin.

Both pages: Bernardo sandals at Bonwit Teller.

[Photograph of a dark-haired woman in sandals, patterned pants, and a button-up shirt. She is flying a series of kites.]

[Continued photograph. Another woman flies a kite. She wears a brimmed hat and dark two piece. A woman stands to the right, wearing light-colored long pants, a light button up, and has her hair tucked into a cap.]

curry

New colours lining up in linen

Sure to be part of every woman's spectrum by summer, the new curry and blue tints splashed through the resorts collctions. They combine smartly, too--for instance, a blue linen sheath might step out in curry leather pumps; or try a curry sheath with a blue chiffon necktie.

The curry linens, this page:

First, an Irish linen sheath with a peplum buckled front-to-back. By Ike Clark, about $19. Macy's; Harzfeld's. Second, two slender pieces of McBratney Irish linen, chalked up with white. By Lorch, about $30. Lovemans; Neiman-Marcus. Sketched in blue, facing page: First, a beautiful blend of blues-- bright blue Irish linen cardigan coat, $50, displaying a soft shirt-shaped dress of hydrangea-printed cotton, $40. A Kenneth Tischler costume, at Bergdorf Goodman; L.S. Ayres. Far right, new late-day look for wherever the sun shines warm--pale-blue Moygashel linen sheath with a lace decolletage. By Eisenberg, $50. Rosette Pennington; Dayton's.

[Pen and ink-wash illustration of two women. Each are wearing sleek, curry-colored outfits. The leftmost wears a hat, carries a bag, and wears a vest-like top with a long skirt. The rightmost wears a collared shirt with bow decor at the bottom and a long skirt. Both wear heels.]

blue

[Pen and ink-wash illustration of two women. Both are wearing blue outfits. The leftmost has short, light hair, and wears a long blue coat with a collared floral dress. The rightmost also has short hair, with a choker-styled necklace, and wears a slightly off-the-shoulder long dress, a braclet, and holds a bag. Both wear heels.]

Jewels abundant

[Around the text, a photograph of two bare feet, each with intricate amber jewel decoration. Colored jewels align the center.]

This is the newest makeup of the season - the Scheherazaderie leg. Beaming paillettes and gemmy flowers flashing to the tips of the toes, a modern fantaisie played on memories of Cleopatra's serpent sandals, so dense with jewels the thongs and laces were never seen... of the Indian beauty who adorned her legs with "jewels abundant"... of dancers in the Bakst-Diaghilev ballets

"Scheherazade" and "Dieu Bleu."

[Above the text, a leg, adorned in the same amber jewels and floral decoration]

The lotus foot "...place on this patch of flower-strewn floor your lotus foot, And let your foot through beauty win..." Jewelled and pampered, delicately arched and rogued--these were the feet of heroines and goddesses in twelfth-century India, the lotus feet that drew the smouldering admiration of heroes....

[Above and to the right of the text, photographs of feet. One has a piece of warm-toned jewelery around the ankle snaking to the big toe. The second has jewels in arch patterns.]

For Vogue, Elizabeth Arden's gifted makeup man - Pablo of Coty Award fame - designed these gala jewels patterns for heroines treading the lotus way right now. Paillettes and fake gems - attached one by one - trace sandal shapes on bare feet. The toenail lacquer is Flame by Elizabeth Arden

BERT STERN

[A photograph of a foot with gemstone decoration in cooler colors. A centerpiece of pink, white, and blue pearls is present near the ankle. The model wears pastel pink polish.]

Page 1: Fort Worth Water Garden with opening text layout.

The big news— the big change!— in fashion is color. Clean, soft, tint-of-color color— the prettiest to come along in years (if ever!). Color that gives a whole new feeling to all the clothes you want for warm-weather places now, for summer later… Photographed by Avedon — as a scenario for modern lovers — in the extraordinary Fort Worth Water Garden designed by Philip Johnson and John Burgee.

Pretty color, easy fashion

TOGETHER AGAIN!

Go for color! — the freshness of white with surprises of pastel yellow. Halston’s easy double-sided white wool coat that goes all year, all places. With a white wool skirt, and bare little tank top in yellow ribbed cashmere. Go for pleasure — the Fort Worth Water Garden, the scene of these 12 pages of you-and-yours. It’s a fascinating architects’ conceived setting — and wonderfully romantic in unexpected ways. Designed by Philip Johnson and John Burgee.

Go for pleasure! — the Fort Worth Water Garden, Texas scene of these 12 pages — four-and-a-half city blocks of terraced concrete steps and “rooms” with waterfalls reflecting pools, small spraying fountains — an unexpected city oasis designed by Philip Johnson and John Burgee. … Halston III coat and skirt (Amicale fabric), about $480. Mid-January, Bergdorf Goodman; Wanamaker’s; Stanley Korshak; Neusteters; I. Magnin. Top, about $50, Halston Ltd. Hair, Harry King; makeup, Way Bandy. Accessories and men’s fashion details, next to last page of this issue.

Avedon

Copyright © 2012 Condé Nast

Page 2: Woman in tan suit walking along water fountain concrete structure

Copyright © 2012 Condé Nast

Page 3: Man laying his head on woman who is sitting cross legged

Copyright © 2012 Condé Nast

Page 4: close up of concrete foutain. Man and woman standing next to each other laughing

Pretty color, easy fashion

TOGETHER AGAIN!

Seasonless, versatile, a find!—left: Geoffrey Beene’s shirting-striped pyjama in palest yellow, grey, and bisque silk crepe de Chine, with an oversmock of bisque handkerchief linen (to wash and wash—it gets softer and softer). Pieces to move around—in… just the smock, the pants, and the bare open neckline at night—or wear together, as here—super hot-weather layering for day! Gandini silk; Sisan linen. About $1,000. At Bergdorf Goodman; John Baldwin; Claire Pearone; Neiman-Marcus; I. Magnin; Frederick & Nelson. (Something for everybody—the cool, whistley-clean scent of Chanel for Men—one of those male fragrances women snap up for their own.)

The unbeatable cool of all-white for hot weather, above—the soft, easy shirt that just falls open, in white crepe de Chine; the lean cotton skirt with a couple of stitched pleats for ease. By Oscar de la Renta. Shirt, of silk; about $58; skirt, about $48. At Saks Fifth Avenue; Montaldo’s; O’Neil’s; Sakowitz; Ballett’s; I. Magnin. Necklace, Elsa Peretti of Tiffany. Accessories and men’s fashion details, next to last page of this issue.

Avedon

Page 5: Left side man and woman standing next to eachother; right side people laying on stairs.

Seasonless! left — sweater-and-skirt dressing in one of the freshest — prettiest! — new colors — pale celadon green. Halston’s ribbed silk pullover, matching cardigan, and his new diagonal-wrap Ultrasuede skirt. Sweater set, about $150. At Halston Ltd. Skirt (Spring Mills fabric), about $200. At Bergdorf Goodman; Wanamaker’s; Jacobson’s; Stix, Baer & Fuller.

Key to warm-weather dressing, right — a perfect small-fitting black cotton knit T-shirt and good-looking trousers in soft beige pongee — what everyone always wants more of! Beene Bag. Pants, about $92; top, about $34. Lord & Taylor; Nan Duskin; Claire Pearone; Sakowitz; Neusteters; Frederick & Nelson. Accessories and men’s fashion details, next to last page.

Avedon

Man and woman laying on stairs together

Pretty color, easy fashion TOGETHER AGAIN!

145

Page 7: woman and man submergered in water

Copyright © 2012 Condé Nast

Page 8: Left side image of water; right side shows a black maillot and a terry poncho.

Pretty color, easy fashion TOGETHER AGAIN!

The thinner-than-thin maillot opposite, in an ultra-light, lustrous (pretty) black jersey with a low-cut tank top and narrow white belt. By John Anthony; Nyesta jersey of Antron nylon (Roselon Industries). About $50. Elizabeth Arden Salons; Nan Duskin; Hovland-Swanson; Miss Jackson’s; Sakowitz.

The perfect wrap-up, this page — white terry and enough of it! — a wonderful oversized poncho to pull over a bathing suit, to slip on at home after a bath. By Calvin Klein. Of cotton terry (Gloversville Mills fabric). About $54. Bloomingdale’s; Nan Duskin; Hudson’s; Woolf Brothers; Bullock’s. Accessories, next to last page of this issue.

Avedon

147

Page 9: Left side heading and photo of woman uo against wall kicking man; right side has film reel of models interacting in diffrent ways .

Pretty color, easy fashion TOGETHER AGAIN!

Nifty pieces to have for warm weather, above: soft, super warmed-up new neutrals — a pinky-beige lisle cardigan, a dash of cinnamon tank top, and great shorts — trouser-tailored natural muslin. By John Anthony. Cardigan, of Dacron and cotton (Klopman Mills fabric), about $60; Nyesta tank top, of Antron nylon (Gloversville Mills fabric), about $16; shorts (Alaric Textiles International cotton), about $40. At Elizabeth Arden Salons; Nan Duskin; Jacobson’s; Sakowitz; Liberty House, San Francisco.

The palest, prettiest tint of peach, right, in the hottest new pants look — the jumpsuit! Here, shirt-shaped, slit to a drawstring waist. In thin cotton-y lisle, cool enough to really take the heat, easy enough to really move in — q.v., right… By John Anthony, of Dacron and cotton (Klopman Mills fabric). About $140. Saks Fifth Avenue; Jacobson’s; Woolf Brothers; Miss Jackson’s; Marie Leavell; Nordstrom. Accessories and men’s fashions details, next to last page this issue.

Avedon

148

Page 10: Image only; woman and man playfull

Copyright © 2012 Condé Nast

Page 11: Man abd woman playfullung leaning against a wall

Pretty color, easy fashion TOGETHER AGAIN!

News at night, right — the look of a top and, instead of pants, a long slim skirt — this season’s newest “pyjama dressing”! Here (seen from every angle), Geoffrey Beene’s super-soft north-or-south version — bisque-yellow-and-grey plaid silk crepe de Chine. With the slip-and-slide ease of his new T-shirt-based top. And a skirt that wraps — and unwraps — beautifully. Gandini silk; about $1,050. At Lord & Taylor, N.Y.; Claire Pearone; I. Magnin; Liberty House, Hawaii. Accessories and men’s fashion details, next to last page. These 12 pages: hair, Harry King of Cinandre; makeup, Way Bandy.

The kind of dress a lot of women have been beating the bushes for for years, left — a short, simple pretty late-day/little-dinner dress — banana silk crepe de Chine, bare-necked, with sleeves that just slip off the shoulder. Morty Sussman for Mollie Parnis; fabric, Onondaga Silk Company. About $365. Bergdorf Goodman; Wanamaker’s; Lillie Rubin–South and West; Neiman-Marcus; Swanson’s. … A reminder: those woodsy, misty scents for men (Kanou for one) are a nice mood-changer at night. And who knows, maybe your scents won’t clash…

Page 12: image of women laughing and running up stairs

Copyright © 2012 Condé Nast

[Page 1: Model seated wearing purple robe and floral silk trousers.]

Part of the fashion idiom: “easy dressing”—meaning dressing that’s unstudied, uncomplicated, easy to wear… all in an attractive polished, real-life way. The concept’s American. We started it. We do it best. And we keep doing it better. This season, “easy” goes to a whole new level—racier, sharper, more sophisticated. What does it: fabric with more character… patterns with more strength, more precision… color!

There’s a new character to Ralph Lauren’s sportive American classics, like his traditional trousers, this page, are in a bold floral print of silk, and his shawl-collared “robe” is vivid purple on soft, languorous silk charmeuse. Another plus: these looks needn’t wait for warm weather, a resort—this is terrific at-home dressing any time. Trousers, about . Robe-jacket, about . Late Dec. at Saks Fifth Avenue, ; Hudson-Belk’s, ; Polo/Ralph Lauren, . Ring and bracelet, Paloma Picasso for Tiffany & Co. Donald Judd chair, courtesy Max Protech Gallery, .

… Everybody loved the look, the Fred Astaire nonchalance of Ralph Lauren’s impeccable, classic trousers… in brilliant chrome silk charmeuse!, opposite. Here, played against a navy double-breasted wool gabardine jacket and white tank. Trousers, about . Jacket, about . Late December at Barneys New York; Polo/Ralph Lauren, ; Polo/Ralph Lauren, ; Polo/Ralph Lauren, . Rings and bracelets, Bulgari at the Pierre Hotel, ; Elizabeth Jackson chair for Arc International, Inc., . These, next two pages: hair, Madeleine Cofano for Bruno Dessange; makeup, Laura Mercier. Details, more stores, last pages.

Andrea Blanch

Page 2: Model in yellow trousers sitting in geometric chair, headline only. A STRONG SENSE OF EASE Page 3: Model in navy sweater and red silk skirt. A STRONG SENSE OF EASE… COLOR — AND SUDDENLY EVERYTHING CHANGES

Typical of this “laid back” American approach: very polished sweater-and-skirt dressing for low-key evenings. And what a sweater-and-skirt this is! By Ralph Lauren, this page, a long, soft-moving, bias-cut skirt of flag-red silk crepe de Chine with a generously sized navy cotton turtleneck sweater. The turtleneck—so important this winter—keeps evolving for warm weather, with long sleeves, short sleeves, even on halters. Skirt, about . Sweater, about . Turnout late December at Allcott & Andrews, ; ; ; ; Polo/Ralph Lauren, . Skirt, Polo/Ralph Lauren, . Elizabeth Jackson chair for Arc International, Inc., .

… Pure pow! The dress everybody applauded, wanted!—Donna Karan’s—opposite. In double-faced, full-bodied bright red silk—strong-shouldered, tightly cinched at the waist, with a graceful, ankle-length skirt—it sets up a whole new definition of shape and a new kind of dressing for easy evenings. Donna Karan New York. About . Late December at Bloomingdale’s, L.H. Rogers, ; Alexander’s, ; Hudson’s; Hattie, and ; Eleanor Keeshan, . Chair, LaVerne Originals, c. 1960, courtesy Fifty–50, . Details, more stores, next to last pages.

Page 4: Model in red draped dress, no printed text. Page 5: Two models, black-and-white jacket and navy striped outfit. A STRONG SENSE OF EASE… PATTERNS ARE PRECISE, SHARP—UNSENTIMENTAL

The best of these patterns, when they aren’t in strong color, are in strong black or navy with white, like this very attractive city dressing for working women—easy to wear, polished, meant to be taken seriously… David Hayes’s black-and-white suit, left: a body-close, pointed-edge jacket and short, narrow skirt, both in strongly textured silk cloque… a look that moves from day into evening. About .

… Regimental precision—the navy-and-white stripes, right, of Gloria Sachs’s silk button-back blouse and classic trouser; all the raciness of a jumpsuit. Top, about . Trousers, about .

Page 6: Two models: Anne Klein jacket and Mondi navy gabardine suit.

… And then there are patterns so precise, they give you a feeling of texture. Anne Klein’s starring jacket, left—long, clean, collarless—continues; in black-and-white, perfect proportion with this short, slim linen/satin skirt; with trousers. Louis Dell’Olio for Anne Klein & Co. Jacket, about ; skirt, about . Jewelry, Paloma Picasso for Tiffany & Co.

… Another attractive jacket, right, by Mondi, in navy gabardine, slightly more classic but not blazer-y—it’s longer, more relaxed, it moves. Here, over matching trousers, a white shirt. Jacket, about . Trousers, about . Shirt, about . Hair, Edward Tricomi for Fijiko-Buccheri, ; makeup, Laura Mercier. Details, more stores, see last pages.

Page 7: Reclining model in soft suit; no printed text. Page 8: Model standing beside car in grey patterned coat and striped halter dress.

Usually hard to find: suit dressing that strikes the right balance between crispness and ease. You find it, opposite, in Oscar de la Renta’s striking plaid/check suit of navy-and-white wool—the jacket lightly shaped and rounder; the skirt short, narrow, slit; the look sharpened by the jolt of a red-and-white striped silk blouse. About . Late January at Saks Fifth Avenue; Sara Fredericks, & ; Montaldo’s; Higbee’s; Baillef’s. Jean Prouvé chair, Global Furniture, .

… In a more dressed mood, this page, Bill Blass’s soft-falling 7/8 coat and slim, soft, ankle-length skirt, done in a controlled, allover “palmette” print (fabric, Abraham), with a striped silk halter that wraps at the waist ( blouse, Teso), for night, a pulled-together, altogether charming way to look. About . Late January at Saks Fifth Avenue, ; Sara Fredericks, ; Martha, & Baillef’s; Lord & Taylor, ; John Baldwin, ; St. John Shops, and ; Frost Bros. Hair, Ray Allington for Vidal Sassoon; makeup, Margaret Avery. Details, more stores, last pages.

Andrea Blanch

Empty

Orange aid, THIS PAGE: A citrus-colored top in wool jersey matches the narrow lines of a stretch- wool pencil skirt. Top, Vogue Pattern #1687. Fabric from Tessuti. Skirt, Vogue Pattern #9359. Fabric from B & J Fabrics, NYC.

OPPOSITE PAGE: Vogue’s take on the reigning monarch of dressing — the sleeveless shift. Silk taffeta dress, Vogue Pattern #9357. Fabric from B & J Fabrics, NYC. Details, pattern information, see in This Issue.

Fashion Editor: Camilla NickersonPhotographer: Van Lamsweerde/Matadin

Image: full-page opener with title “city plan.”

When it comes to dressing well, the rules are simple: slimly cut dresses, pants, and tops in fabrics that stretch or shine.

Image: model crouched in metallic mini-dress against night skyline backdrop.

The new urban suit, THIS PAGE, is a slim-fitting sleeveless top with matching cigarette pants in high-tech stretch fabric. Top, Vogue Pattern #9407. Pants, Vogue Pattern #9042. Fabric from Schoeller Textil USA.

OPPOSITE PAGE: An orange wool jersey dress with the new little cap sleeves for dancing to a city beat. Dress, Vogue Pattern #8981. Fabric from Tessuti. Details, pattern information, see in This Issue.

Image: model seated in gray stretch top and cigarette pants.

[Image only page: orange cap-sleeve shift dress in motion, skyline background.]

BEAUTY NOTE The clean lines of city-chic clothes demand simplified makeup. Giving the look of baby-soft skin, Elizabeth Arden Flawless Finish Everyday Makeup SPF 10 in Ivory. Hair is boosted by J. F. Lazartigue’s Nature L Volume Conditioner/Styling Gel.

[Image: close portrait with glossy short-sleeve shirt and tailored trousers.]

[Image only page: glossy orange gloss-finish fabric short-sleeve shirt, high-waist trousers, city-night backdrop.]