Savannah morning news. [volume] (Savannah) 1868-1887, 1885-02-01
FASHIONS FOR FEBRUARY
COLOR As An ELEMENT IN AR
TISTIC COSTUME.

E-e5louS nave TAKEN pace bl 4dlt III IT.
gard to what constitutes ''fulT' dress. 1t
is undoubtedly true that the custom of
wearing low b0dices is extending and in
creasing in direction that is least de-
sirable, viz: among young girls. Now,
there is no particular harm IN the wear
Iur OF low. decently cut bOdIces. Forty
or fifty years ago children and young
women wore them universally, but there
IS harm in the wide difference between
basFues cut high to the throat and bOdices
which form a mere strap about the waist.
There is immOdesty in stripping young
girl so that the charm of her fresh,
Young wOmanhOOd is forever de-
stroyed, and her sense of what is
right and proper forever blunted. Dress
makers are more at fault in the matter
than mothers, and could do more to pre-
vent fashion from proving a snare. They
tel guls that IL is prudish and old maid
ish 10 object TO a cut which leaves the
bust exposed, and that fashionable lead
ers and authorities wear them SO, and so
the mother NAV utter her protest; she
very often does. but she is pOwerless be-
fore the combined influence of the mOdiste
and the desire of the girl Just entering
life to represent the latest style
ana show her pretty person to advan-
ta-e. Yet it not unfrequently happens
that such exhibitions are not only sug-
S,ively Indecent but very unbecOming.
II Las been the fashion of late TO leave
the edge Of the low bodice at the neck
quite plain and bare, with nothing 10
soften the line of velvet or satin in its
contact with the skin, no matter what
tl- color, Whetherwhite or a dusEy red.
The sOGness Of youth and the grace of
American beauty triumphs over very Sc
ves- circumstances. but the charm which
they exercise is, in spite of the draw
backs ~ an ignorant caprice which calls
elf fashion, not aided by it. There are
soft satin skins so perfect in color and
texture that the rise of the neck and
throat seems only the continuation of the
hne il-m cody of the fabric. But these are
e. rare rs to claim and receive eXcep-
tiCLaI honOrs and privileges. The majority
REQ. ire a gentle medium to soften lines
and establish friendly relations between
agv unyielding fabric and the shrinking,
sensitive. delicate skin, particularly
when the force of color is added to that of
texture
THAT exaggerations are not needed is
e,ilrLt ~ the presence ut every ball, at
every evening entertainment Of dresses
cur low vet in perfectly unOhjectiOuable
manner. They may be round, OF square.
or aointed, but they are modest and
p-or.anlv. Low bCdices are not neces-
sar-IY Objectionable. nor are high ones
-1n1TfectIonable The latter may be cut
SQUARE or heart shaped, and left open so
low In front that almost any low bodice
would be raiment for Nestai compared
T5-l IT, There is nearly always more
man one way of attaining an object, ana
if an exhibition Of that kind is an object
an o7lfcr against low bOdIces would not
prerent il. What is needed Is self
re-reet enough among women TO draw
the line and not permit any imaginary
authority to interfere TO the dlscredlt OF
the-- own Judgment and sense OF pro
Driety. Fashion is made by the Wills OF
many Welding to the caprice Of one. Much
as has been said about 1t, there has
been little change or even mOdlhca-
tiCu ln fifteen wears, and long before
thar time. The pendulum mas mas
vibrations are weaker, and the distances
shorter with every season. We recur
eternaIly 10 the old things, the simpler
and more practical of former styles, and
are getting rid, more ard more, OF the
uribcrsome and unnecessary items and
accessories in our dress.
Not That the dress of women Is likely TO
lose rs distinctive character; there is
moro than fashion in the provisions when
determine the difference between the dress
OF man and the dress of woman. but we
arc certainly. and, notwithstanding all
that j. said and done to the contrary,
gradually acquiring the knowledge OF a
true art in dress, and the first principle OF
This 3 adaptation, the second dltterentl-
atioa. tie third harmony.
THE USE OF COLOR.
The development of color of late years
and ita emplOyment is a revelation OF the
possibilities of this element III the dress
6f tre future. There have been various
tests % STYLES and elegant achievement
i'm rich dressing. Sometimes 1t was the
length Of the flowing sleeve, sometimes
the Bhortness of the waist, sometimes the
ex -ent OF the train. These points are an
nov subject to certain unWritJen laws,
and do not determine the merit OF the
dress in the ewes of experienced behold
ers. Even its cost IS secondary to It's
artistic value; its adaptation to Tune,
Mace and circumstance, and It's lndlVld-
nal. and the effective and harmonious
emr ICyment and combination OF color.
Henry Irving taught us the lesson OF SUD
Ordiuating dress upon the stage, 10 the
general scheme OF color or rather Oi
making II harmonic with the general
tone and ensemble. In francesca dl
Rimipi Mr.. Lawrence Barrett has been
equally successful in making the COS
TUNES historically accurate, yet part Oh
fino sru1ies of color, and artistic effect.
This Is all the more noticeable from the
entire absence Of high and strlklng COZ
ors: and the use exclusively OF sOit Jlhts
wood browns not bark brown ,, gray s,
sea-bl-e, bronze green's, ana Nenetlah reu'
Tinted white in delicate wool forms long
floating sleeves gathered high upon the
shoulders. Of a fine pale pink gown oil the
dain1iest wool. the flowing lines clasped
an the waist with belt Of pale gold.
II mas ALWAYS been said with regard TO
coTo-s r5,,or the stage. that high reds and
bIupS. and vellOws, were necessary TO pc
effective in the strong hghf. Dut tuat
has been proved TO be an error. Hlgh lshI
simnIv renders masses OF crude co.ot'
more vulgar and pronounced. W nat IS
necessary is this. that shades should be
seIectel with strict care ana aIienlloh
to the action of light upon them. Eiec-
tric lighting will have an immense IN
Hueree in the future upon the use Oh
s.ofCrs. as il favOTs blues, which IN soma
shades, are made green, in others olack
by Cashght.
Perhaps the prettjest figure picture, 50
far Is color is concerned, are made upon
fhe sta.-e Of Mr.. Augustin Days theatre.
In the adaptation of his plays. ne not IN
FREQUENTLY transfers q famous picture, as
a rSbIaa1I' or situation" to add 10 the et-
feet AZ dramatic scene. ana the cos
tunes. II not the environments, are tneu
carefully studied and accurately copleu'
one of the difficulties in regard to cOtOr
in popular dress is this: that art III cOloI
has not yet been attained by American
manufacturers; and that after the lIInlteu
quantity Of any choice shade or color tnaU
i imported has been exhausted, 1t is I'M
nossihle to find il, or if by accident 1t is
fouud in material. it cannot be matched
In trimming. Every one is inquiring for
corn. faWn and smoke shades, yet IN De
cember and January irultless se3rch
mas been made for these shades; IN lace,
ribbons. fans, embrolderles, anu uIess
fabrics. ribbons alone anOrdln9 S?Ee
shades cf the colOrs mentioned Illlh'
blue and cream, ordinary gray, Drown
aud red. with one or two shades Oh green,
constitute the range, and OF these proNhs
and greens are soon exhausted.
ESTHETIC MODES.
We laugh at Tstheticism, but Whlie
,froDDiny the name we have absorbed the
main ideas into the art, and life Of mod
ern dress. and the influence IS most
Irbols,orne. especially as it comes 10 us
f,Crn +he reform effected ON the stage.
a fayC Years 10 the dress of ''stai :"
- more matter OF cost; il was cut
80, tho most expensive stuff that could
= - .onr5 and il was exhibited ard
i,Js1oned away in the newspapers as the
49, attrsctiye feature of performance,
silU1S because Of the eXtraYagant