Evening star. [volume] (Washington, D.C.) 1854-1972, 1913-11-09

hurled against it during July and august
| The changed silhoutte of women Is mol
| disputed, and the wide circle around OF
above the knees is already more or less
| commonplace. This does not mean tna'
! the wired lampshade effect, which was
| originally introduced for the theater, is
/ worn, but 1t does mean that the majority
| of skirts show various KINDS or SNORT
/ tunics that end above the knees and are
gathered or pleated at the waist The
silhouette, in other words that startled
the world in August does not give 1t a
thrill in November.
! This is the way every fashion WORKS IL
| self out to success or failure. That which
| the world becomes accustomed TO see.
soon loses the chance to shock us.
The best model in the Turkish skirt
has long slash down each side from the
waist half to knees. which is hnlsheu
with several rows of stitching or trimmed
with a wide band of velvet or cloth. In
the fanciful skirts there is q heavy SILK
tassel at the end of each slash. but the
woman who carefully selects her clothes
will surely omit this.
The fact of these openings at the side
demand a good lining, although il is
possible to wear such a skirt over a
Well-Cut petticoat of satin or silk. Ihe nm
ing is better, for while it gives security To
the skirt 1t does not compel one to wear
two Wristbands. Black satin is now the
color and the fabric used.
1t is not an economical idea to use
white or gray satin as a lining to a sep
arate dark skirt. 1t easily soils and must
constantly be ripped out and sent to the
cleaner. Taffeta has given place to satin
as lining because it does not sptt. and
there is a special kind of heavy lining
satin that is used which often wears
as long as the skirt does and is warm
enough to make a woman comfortable.
The favorite garment under such lining
is pair of silk boomers, which are held
in above the knees with an elastic garter
finished with bow of ribbon at the side.
One of the most delightful parts about
the innovation of the tunic is that an old
gown can be renovated without ripping
it apart. These transparent accessories
are used over draped skirts of satin or
silk, strange as it may seem, and there
fore woman can find herself in the fash
ion by gathering ten or fifteen inches of
tulle to the waistband.
If she likes the little short pleated
tunics she can attach them to the lower
edge of a deep gypsy sash; and If her
bodice is much the worse for wear she
can put in a new one of tulle~ to match
the tunic-a slight matter when one con-
siders the bodices of today. Ii 1t is an
evening gown, all one has to do is to
have folded bands of the tulle placed
surplice fashion, over the shoulder from
waist in back to waist in front with short
kimono sleeves gathered up the outside
to fit the arm.
If one wants to add a little more money
| and a great deal more style to the gown
then one should buy a girdle of fancy
passementerie made of colored crystals or
| pearls and place a large colored cabo-
chon in front
| The French gowns that are made after
| this fashion have three or more strings
of the beads festooned over the hips This
| Is also taken from the play called the
Minaret, and it is possible that we shall
see much of it over here this winter.
| **
Tulle is not the only fabric out of
which tunics are made. Afternoon gowns,
especially those for. weddings and lunch
cons and card parties, carry TUNES of the
/ same material as the gown, or in velvet.
Most of these are short and some of them
are wired, while all stand well away from
the figure
| An admirable model is of black satin
with a skirt cut in three parts: First a
| long hip yoke which snugly clings to the
figure; then wider piece which is cut
longer in the front than in the back and
| Is caught up between the knee in horizon
| tai pleats; then the tunic of black panne
velvet, which has five-inch top of black
chiffon gathered to the waist line. There