The Topeka state journal. [volume] (Topeka, Kansas) 1892-1980, 1912-04-12
How Fashions Ide

~ an evening gown SnOulQ SuB-
gest. The more tntricately
~ draped the gown is, and the
more the curves of the figure are re-
vealed by the draperies, the more
does it suggest modishness and exces-
sive cost. And there is usually no
doubt about the cost of an up-to-date
evening gown. The materials, to
start with, send the price a-soaring,
before the services of a dressmaker
skillful enough to combine them har-
moniously has been considered at all.
What with diamante trimmings, me-
tallic laces. crystal and pearl fringes,
jewel-set buttons, laces yelled by chif-
fons, and with even the charmeuse
which forms the foundation skirt at
four and five dollars the yard, the
finished cost of miladfs dancing cos
tune Is no trife.
Yet, when the gown is completed,
all this magniflcence Is represented
by a soft, f1imsy bit of a costume that
may almost be drawn through q
bracelet. even when the fabric Is SO
heavy with bead ernbroideries that it
hangs as straight as an artists plumb
line when off its wearer. But when
on.-ah. then does the soft, weighted
fabric take to itself the most lovely
lines of grace! Then does it cling
and wind about its wearer; revealing
the contour of hip and limbs; of arm
and shoulder and softly rounded
bosoml And under tiff the dress
maker knows her business appears
to be-absolutely nothing at ALL 1t
may be when the satin skirt is lifted,
during the dance or the stepping into
a limousine, that you catch a futter
OF lace from a supposable petticoat,
but from the way that gown clings
and winds. it does not seem possible
that even a petticoat can find room
beneath its draperies.
In addition to this clinging and
winding effect, the lining of the lace
or chiffon bodice is flesh tinted; chif-
fon or fine net being used. to pre-
serve the delicate, clinging lines of
the outer fabric and to accentuate the
decollete effect. Some of the gowns
worn in the boxes at the opera this
winter appeared to be entirely I'M
lined from the waistline up. The
decolletage reached quite to the
waistline at the back and often the
shoulders were covered only with
pearl strings or bands of diamante
trimming. Shocking? Well perhaps
80, If you look at 1t that way; but
inexpressibly lovely all the same, for
so skillfully are fabrics and colors
handled that the clinging chiffons and
laces appear to melt into the tone of
the flesh on shoulders, neck and arms;
and the uncorseted figure lines lend
q suggestion of classic dignity and
grace which make possible decoliete
effects which would be out of the
question in an era of wasp-waists and
stir. trinity drawn corsets under glis-
teaing satin bodices.
How the "Corsetless' Figure is Pro-
duced.
There are women who can wear
classic draperies of thin. clinging stuff
over an entirely uncorseted figure;
but they are few and far between.
Only the 1.-THE, supple. slender young
figure with contours absolutely un-
spoiled can stand this severe test
The beautiful mannequins selected by
the couturiers have these young. slim,
rounded figures, and they are taught
exactly how to walk and to sit, so that
the body falls into proper lines of
grace under. the clinging draperies.
But alas for the average woman, even
of slender proportions, who dons a
Tanagra draped evening gown without
the saving grace of a cleverly fitted
corset to make harmony between bust
and waist and hipi All uniformity
and flow of line will be lost and she
will resem ble-in some of the posi-
tons in which she will inevitably fall