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Fresh from Paris and a wildfire success was the three-piece suit with its own over. blouse and Chanel jacket, shown here in tin} summer checks by David Crystal.

DAYTIME, 1960
The "eased" sheath, seen in Sue Brett's nautical blue-and-white ticking was an all-season city and country favorite.

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The lithe, flowing silhouette, a top fall fashion, was shown by Maurice Rentner in black silk crepe, with newsworthy features—the cow neck, softly bloused bodice, flared skirt, and the tied, soft leather belt.

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and by U.S. designer Ceil Chapman in her simple, lightly fitted, black silk-shantung cocktail sheath with dress-up touches of white silk organdy.

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Much liked was the tunic, shown in a red chiffon cocktail gown by Rome designer Pancani, with a small "tube-formed" gown appearing below the hem of the upper gown.

The elegant uncluttered look was achieved by London designer Norman Hartnell in a white silk gabardine for afternoon with its gay twin-panel overskirt.

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A wide wool stole lined in multicolor Thailand silk, a softly box-pleated skirt, and collarless neckline on the fitted jacket lent a feeling of newness to the suit of imported worsted brown wool shown by Maurice Rentner.

THE SUPPLE WOOL-KNIT
A bright-shining star among the season's dresses was the fluid wool-knit, deftly shaped to move with the lines of the body. It was seen in print as well as in warm solid colors, notably, various shades of plum and grape. The neckline was distinctively collarless or cowled (Kimberly Knitwear, Inc.).

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TO SUIT THE LADIES
Frankly feminine, fall suits reflected a highly "personal" look, revealing a woman's own taste and flattering her particular figure. Rich fur touches were widely used, as in Vera Max-well's town costume, with splashes of mink on camel beige English tweed, the jacket featuring the much-in-the-news"relaxed" line.

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Luxury was the keynote of a wrap coat by Originala its cape collar of fox, its sleeves capelike.

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Subtle waistline emphasis was given by the gently defined black suede sash belt accenting a black-and-white tweed wool, with longer jacket, shown in the June collection of the London House of Dior.

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COATS—CAPES AND FURS
The coat that looked like a cape and the most extravagant use of fur in many decades were fashion highlights in New York and Paris. Lanvin-Castillo of Paris created the cape feeling in a wide-backed soft white wool fastened below the round collar with three oversized buttons.

 

Pauline Trigere used the new cape line in her "knight stole," above a silk damask gown of big green-and-gold flowers (left); the medieval air was carried out in the shoulder-length gloves, matching the black-as-ink chiffon broadcloth cape lining .

Knee-Legnth Novelty
One of the most refreshing style innovations in years was the short, short skirt resembling a Scotsman's kilt. The youthful fashion caught on rapidly with high-school and college girls who found it a fitting teammate for the knee-length socks and the tights also favored by this age group.

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THE LUXURIOUS LOOK OF LEOPARD
In a season when fur was used with a lavish hand, leopard was king of the beasts. It appeared everywhere in genuine and fake fur coats, hats, belts, and trimmings. So tremendous was the leopard vogue that many other items, such as raincoats, scarves, and knitted wear were also given the spotted look. Here, Kimberly Knitwear uses the jungle-beast motif in a ribbon-edged cardigan jacket and top-of-the-head bonnet in a flat-wool knit
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HEAD LINES IN THE NEWS
The 1960 season brought a revolution in head and hat lines. The bouffant and beehive coiffures were suddenly outdated, replaced by the sleek, cropped haircut of the Thirties. Tremendously popular was the coif, or hatlet (upper left), which revealed the hairdo but spared it; the flattery of veiling was accented by velvet, or, for winter, velvet with mink or ermine tails. The wearer was assured a shady summer with the "Sunbrella" (top right), shown here in Sally Victor's version.. Fitting mates for the new wave of bangs and cheek curls (left) were the "little" hats harking back to the heyday of 1930'ish film glamour girls Carole Lombard and Jean Harlow.

 

 

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GLAMOUR AND GLITTER
Evening fashions for 1960 displayed more elegance than in many seasons past. Cell Chapman's bare-shouldered "Venus look" gown was diagonally draped in glittery, clinging silver lame, revealing a glimpse of ankle.