Evening star. [volume] (Washington, D.C.) 1854-1972, 1885-01-31
FEBRUARY FASHIONS.
Color as an Element sn Artistic Gov.
tume-What Constitutes Full Dress
Some Recent IOilets-NeW Ideas in
UndeFwear-COllars and Cuffs-The
latest Gossip.

Latest Gossip
From Our Own Correspondent:
NEW YORK. January 30-Some heated dis
cussions have taken place of late in regard to
what constitutes full dress. It is undoubtedly
true that the custom OF wearing low bodice is
extending, and increasing in direction that Is
least desirable, viz: among young girls. Now
there is particular harm i'm the wearing of
low, decently cut bodices Forty or fifty years
ago children ald young women wore them uni
versalIy. but there is harm in the wide differ
ence between baS9ues cut high to the throat
and bOdces which form mere strap about the
waist: there is immodesty in stripping a
young girl that the charm OF her
fresh young wOmanhOod Is forever
destroyed and her sense of what is
right and proper. forever blunted Dressmakers
are mere at fault in the matter than mothers,
and could do more to prevent fashion from prov
ing snare. They tell girls that it is prudish
and Old-iEaidish to object to a cut which leaves
the bust exposed. and that fashionable leaders
and authorities wear them so, and so the mother
may utter her protest; she very often does, but
she is pOweress before the combined influence
of the modistc AMI the desire of the girl, just
entering lite. to represent the latest style.
and show her pretty person to advan-
tage. Yet it not unfrequently happens
that such exhibitions are not only sIggestivey
indecent. but very unbecolning- 1t has been
the fashion of late to leave the edge of the low
bodice at the neck quite plain and bare, with
nothing to soften the line of velvet satin in
its contact with the skin. no matter what the
color. whether white or a dusky red The soft
of youth and the grace of American
beauty triumphs over very severe circnm-
stances. but the charm which they exercise is
in spite of the drawbacks of an ignorant caprice
which calls itself fashion: not aided by it,
There soft satin skins. so perfect in color
and texture that the Use o. the neck and throat
body of the fabric But these are so rare as to
claim and receive exceptional hOnOTs and priv
i!cges- The majority require gentle medium
to soften lines and establish friendly relations
between and unyieldng fabric and the shrink
Ing. sensitive delicate skin. particularly when
the force of color is added to that of texture.
That exa@gerations are not needed is evident
by the presence at every ball. at every evening
entertainment of dresses cut low. yet i'm per-
fectly unobjectionahle manner. They may be
round. or square, or pointed but they are mod
est and wOmanly- Low bOdices are not neces-
sarily Objectionable. nor all high ones unObiec-
tiOnable. The latter may be cut square or heart
shaped, and left open so low in front that al
most any low bodice would be raiment for a yes
tai compared with it. There Is nearly always
more than one way of attaining an object, and if
an exhibition of that kind is an object edct
against low bodices would not prevent it. What
Is needed is self respect enough among women
to draw the line and not permit any imaginary
authority TO interfere to the discredit OF their
own Judgment and sense Of propriety. Fashion
Is made by the wills of many yielding to the ca
price of one. Much as has been said about it,
there has been little change or even moditica-
ton. in fifteen years and long before that time.
The pendulum has swung to and fro, but the
vibrations are weaker. and the distances shorter
with every season. We recur eternaly to the
Old things. the simpler and more practical of
former styles. and getting rid more and
more, of tine cumbersome and unnecessary items
and accessories in our dress.
Not that the dress of women is likely to lose
It's distinctive character: there is more than
fashion in the provisions which determine the
difference between the dress of man and the
dress Of woman. but We certainly. and not
withstanding all that is said and done to tine
contrary. gradually acquiring the knowledge
OF true art in dress; and the
first prir ciple of this is adaptation
the second differentiation. the third harmony.
THE USE or COLOR
The development of color OF late years. and
It's employment is a revelation of the possibili-
ties Of this element in the dress of the future
There have been various tests OF styles and ele-
CANT achievement in rich dressing Sometimes
IL was the length of the flowing sleeves; some
times the sEOrtness of the waist: sometimes the
extent of the train. These points are all now
subject TO certain unwritten laws, and do not
determine the merit OF the dress in the eyes of
exDerlcnced bphoiders. Even its cost is sec
0ndary To its artistic value: its adaptation to
time. place and circumstance and Individual
and the effective and harmonious employment
and combination Of color. Henry Irving Taught
u the lesson of sUbordnating dress upon
the stage to the general scheme of color
or rather Of making it harmonic with the
general tone and ensemble. In Francesca di
RiGIini Mir. Laurence Barrett has been equally
successful in making the costumes historically
accurate vet paTt of fine studies OF color and
artistic effect This is all the more noticeable
from the entire absence of high and striking
colors, and the use exclusively OF soft tGts-
wood browns mot bark BROWN greys sea-blue
bronze greens. and Venetian red. Tinted white
In delicate wool forms long floating sleeves
gathered high upon the shoulders of a fine pale
pink gown of the daintiest wool. the flowing
lines clasped at the waist with belt of pale
gold.
upon the stage. that high reds and blues and
yellows were necessary TO be effective in the
strong light But that has been proved TO be
an error; high light simply renders masses of
crude color more vulgar aud pronounced. What
is necessary is this, that shades should be Sc
lected with strict care aud attention to the &C
ton of light upon them. Electric lighting will
have an immense influence in the future upon
tie use Of cOlOrs as it favors blues which i'm
some shades are made green, in others black, by
gaslight.
Perhaps the prcttiest figure pictures so far
a. color is concerned. are made upon the stage
OF hr. Augustin Days theater In the adapta-
ton oil his plays. he not unfrequently transfers
famous picture. az a tableau. or situation
to add to the effect of a dramatic scene; and the
costumes. IL not the environments, are then
carefully studied ard accurately copied.
One of the difficulties In regard to color In
popular dress Is this: that art ia color has not
yet been attained by American manufacturers
and that after the limited quantity Of any choice
shade or color that IS imported has been ex-
hausted it is impossible to find it, or il by acct
dent 1t is found in material 1t cannot be
matched in trimming. Every one is
1Dqa.Ting for ecru, fawn and smoke
shades. yet in December and January a fruitless
search has been made for these shades-in lace
ribbons, fans, embroideries and dress fabrics
Ribbons alone afTOrding some shades of the
colOrs mentioned Pink blue and Cream. ord-
nary gray. brown and red, with one or two
shades OF green. constitutes the range, and OF
these browns and greens are soon exhausted.
ESTHETIC MODES.
We laugh at esthetIcism but while dropping
the name we have absorbed the main ideas into
the art and life Of modern dress and the infu-
ence is most wholesome: especially as il comes
to us from the reform effected on the stage. A
few years ago the dress of ''star" was mere
matter Of cost; IL was cut from the most eXpen-
{. N tn0f Ia