Evening star. [volume] (Washington, D.C.) 1854-1972, 1913-10-05

/ crude. but the blouse ftsslf - mnun
more graceful Il allows the dgure
to BE- %Ren snd r sSss q
surely nothing to object to IN the mod
>ern gowns. unless the reformer stiil
harps on the narrow footlina, beoauge
| fuliness is piled on fulinesa There Is
no visible sign OF q CORSET even when
one is worn. =
The transparency OF tie modern evwn
may be Objectionable TO many. 6ut ft
is not necessary to wear unlined lace
Tor bodice. and &C without q petit
coat. This thing. after all. must be
dcided upon by the woman who wears
the gown.
There is nothing Objectionable about
the collarless blouse, which 10 uni
versaL There is something to object
70 when woman carries the point OF
TINS collar too far and forgets to fas-
ten ~ until she arrives nearly at the
waist line. but this negligence ex-
presses the temperament OF the
wearer, not that of the dressmaker
POSSIBLY the pendulum may swing back
20 the prudery of the Victorian era.
after IL has reached the Directoire stare
and that would be a pity. Reactions are
almost as harmful as revolutions wom-
en- have gone far toward sanity of mind
and body In the present era. and n the
next generation begins to say limbs for
legs again ii will be closing out the
mental sunshine that has been let into
the dark places.
Do you want to know about the dlmen-
sions Of the skirt? If you do. here they
are An appearance OF excessive mar
rowness which is deceptive. for there is
always a manipulation of the material in
order to give the wearer liberty Of move
ment. AS the skirt is easy and loose at
the knees and hips, its narrow footline
does not seem TO confine the body aud
rob 1t of grace. and the way In which
this footline is pulled up in front or back
OF arranged in pleats or fuliness cross
wise or leagthwise allows a woman to
walk and dance freely.
Even afternoon gowns must be made
| with the idea of dancing, for il is here,
| as in America, that this one pastime
has usurped all others. 1t Is not posi-
| bic TO take the fancy steps of the tango,
| or that new and graceful dance, the
| Brazilian mattische. in a skirt that Is
| extra narrow; therefore the dressmakers
have designed one that gives the appear
ance of hugging the ankle. but has full
ness concealed In II somewhere.
By the way, il is v r. difficult to keep
4 away from the fol- dancing OF the day.
| even when one is writing clothes; in
truth. wherever women are ordering
| gowns, you hear the words tango and
| 'one-step' as frequently as you do ''gir-
| die" and sleeve"
Women dance everywhere at all times.
at all hours, in all costumes. At vichy
| iddlers are going all day, and the dancers
leave their cups of coffee in the morning
or their tea in the afternoon, and do a
| turn of some folk dance. for by that nice
| name are they called over here.
1t may be that the Argentine tango. the
| Spanish fandango. the American negro
ragtime, will give way to this new Bra
| lillian mattische. One sees the Ameri-
cans learning ii at every place In France
where there is music. In its original
| way it is not dance for the drawing
| room. because II is too difficult. but
| Duque. the Brazilian who is making it
| famous in Paris, has modified it and made
| it simple enough to take the place OF
J the tango.
| He dances it with his amazingly good
| looking wife this winter in New York
after he introduces it in Berlin I'm Octo-
| Der, and it is bound to be taken up by
| the fashionable sets.