Evening star. [volume] (Washington, D.C.) 1854-1972, 1913-03-17
ORIGINAL MODELS FOR
THE AMERICAN WOMAN
BY JOSEPH.

The sartorial world is in it's customary
features are being tried out but compare
lively few of them VIII live to see spring
by the calendar. and others are hesitating
upon the threshold ready to be rushed
In to take their places.
Upon several points, however. society
is quite determined. Skirts will be COM
fortably wider: at any rate they will have
considerably more material in them,
which, except in a few cases that only
serve to prove the rule, this fullnss will
be adjusted to give the wearer the room
necessary to freedom of movement.
Draperies will prevail with much liberty
allowed about them, although IL there is
any favor shown it is on the side of the
low ones. those that are arranged in one
way or another below the knee line, and
right here let me pause and tell you of a
new and nice note in this connection
With these low-swung draperies there is
an adjustment of the bodice material to
correspond, just as is illustrated in the
model sketched for this article.
Here the original, which is of old gold
brocaded silk crepe has it's skirt mounted
to a very low waist line, so low, in fact,
that it practically Is about the hips and
is gathered ever SO scantily to make it fit
smoothly and easily about the top. 1t is
right, each side being draped quite elab-
orately up to the front underneath a fold
of self-material and in such way as to
disclose the instep after one of the
choicest OF fashions little fads. This pro
duces train at the back and gives to the
whole skirt that dragging effect which is
peculiarly graceful
The bodice has long, close-fitting
sleeves cut with side sections which are
large and roomy, SO that they too drag
hav 1ncn ,CoIyr
a draped sirdle which is started where
the normal waist line begins and termi-
mates where the skirt is mounted, which,
as has already been explained, is at the
is a sash of old gold taffeta RIBBON,
striped in dull blue. which ties in a loose
bow with long, dropping loops directly In
front. collar of plated net and shadow
lace, revers of white chiffon crepe edged
with plated shadow lace, vest of the
of tiny pearl buttons down the center be-
low a narrow yoke, and small bow Of
shadow lace are all telling touches In
this attractive afternoon gown that so fit
tingly expresses the trend of spring
modes.
Thus far the additional fullness that is
being introduced into skirts has not been
allowed to interfere very seriously with
the slim silhouette. Always there is a
restraining note. For example, if the
tunic is fiaring. then is the underskirt
about which it is hung apt to be narrow
by contrast and, contrarily, if the skirt is
full or made to appear SO through the il
fusion of plaitings or slashes. then 1t is
more than likely the tunic tapers grad
ually but determinedly to confine it.
To illustrate this point still more clear
ly. model of white chiffon over char
meuse has both gathered evenly into the
waistband. and then just below the hips
Is deep flounce Of cream-tinted Chan
tilly. IN it's turn gathered, and then six
inches below the chiffon and charmeuse
are gathered and again Is flounce made
to conf1ne it. this time the flounce being a
narrow one. AS the lower f1ounce occurs
just above the knees and the charmeuse
has it's fullness allowed all freedom below.
there is ample room for free movement,
although in it's outline the costume con-
fines itself as closely to the figure as the
most daring could wish.
Line is, everything, and yet it is difficult
when one contemplates the marvellous eff
fects made by combinations OF colors and
materials to regard it as more important.
Rather, it is the whole, the grace of line
obtained and retained through clever ma
nipulation of many colOrs and divers
fabrics