The Evening statesman. [volume] (Walla Walla, Wash.) 1903-1910, 1908-08-13

woman of height; and where surplus
cloth must be avoided, many tunic eff
fects are gained by means of bands,
folds or braiding. A second point that
must be avoided is the position of the
point; one woman must wear the drap-
cry with the point directly in the CEN
other may have the points on each
side with the drapery opening over the
front showing the under skirt. Again
the waistline-a thing hardly percep-
tible in the pure Greek costume-must
fall or rise according to figure.
OF materials best suited to the new
mode, are the crepe declines, soft
silks, veilings, muslins. indeed. all
fabrics that fall easily in graceful
lines and cling closely to the figure.
For walking, carriage wear, etc., the
tunic effects are suggested by bands
for the heavier or more Wiry mate
rails do not lend themselves easily to
draperies.
The line of trimming that is most
generally becoming dips towards the
front and rises on the sides, giving a
slight forward movement, but the
straight plated tunic that opens
either abruptly or slightly over the
left side is worn by many with good
effect
Many of the waists of these modes
| carry out the drapery idea, the sur
plice, folds across the bust drawn
across from one shoulder to some
| point according to fancy and becom-
ingness; but the classic fold must be
; used in some fashion to get the tout
ensemble effect for, who would care
[ to see jumper waist with crepe de
chine skirt in the Greek mode?
A new chiffon weight broadcloth is
| most popular in Paris for the develop
ment of the Tunic skirt and while
| broadcloth sounds heavy to us. the new
| chiffon weights are very light, pliable
| and soft, and with the advent of au-
| tumn days will be more and more used.
Faded tones are much used in the
colorings used for the tunic costume,
| as they are for the empire and prin-
| cess dress. Old rose, blonde, willow
| amethyst, biscuit, dead-leaf brown,
| wedgewood blue and stone-grey are
some of the names given us, but when
| seen, except for slight changes, they
will be recognized as old favorites
A costume that carries out the
| principle of the Greek design, has an
| underskirt in two pieces with a seam
| in the centre front and a habit back.
| The over-drapery is joined to the skirt
| proper down the right side under a
fold Of silk and from the front rises to
half way up the left side where it is
| joined to the left side under the silk
| fold which has continued around the
bottom edge. AS the drapery is cut
closely about the hips but with sufi-
Gent flare at the bottom, the whole
effect is one of graceful folds.
The Greek influence is particularly
well eXemrlified in the soft lines and
| drapery of the waist Cut in three
| pieces, back, two fronts cut in one
with the sleeves which are mere Jap
| anese bands slashed on the ton The
| top of the fronts and the back are cut
in deep points, and the fronts are
| draped down under the shaped girdle
in surplice style. The under blouse is
of lace. Silk folds to match those on
the skirt outline all edges on the waist
For the woman who cannot wear the
Tunic skirt, there is a new model with
oil applied erect obtained by the deeu
band of contrasting material. or better
still, of the same goods as the skirt
for a contrast in material always de-
tracts from height. The skirt has q
sheath like adjustment but flares al
the bottom to a measurement of five
yards. Seventeen narrow cores from
this skirt giving the effect of Ions
lines. A and btrimming outlines the
: sides of the front panel and from this
the tunic band trimming starts anf
slopes upward towards the back.
:, One of the striking features of the
new skirts designs is the high waist
me. This was exemplifed in an ole
blue chiffon broadcloth The ton O.
the skirt above the waistline i.
draped in corsage style, fits closet,
over the hips and falls in full grace
full folds from the centre back gore ex.
! tends over the draped corCooo ton :,