Tulsa daily world. [volume] (Tulsa, Indian Territory [Okla.]) 1905-1919, 1917-03-18
Narrow Skirts, High Waist
line, Deep, Round
DeCOlletage


pleatcd in small groups at SIDES and
back. Today, the pleats are more uni
versal than the plain eftccr.
The high .waist line on evening
gowns has to do with the incoming
of the first empire and directoirc pc
riods, both of which have been sug-
gested in several of the costumes that
have been turned out by the French
designers during the last six months.
1t was expected that some definte
move in this direction would be made
at the spring openings, but evidently
the designers have contented them.
selves with few touches from the
fashions of those two periods and
have let it go at that. Large reVers,
a high. turnover collar at the back,
long, tight sleeves that flare over tho
hand, and the high wasted skirt be-
meath the short Jacket, are features
of the directoire period
The evening gown with the negligi-
BILE bodice, the round decolletdge and
the high waist line, with the skirt that
hangs Imply against the figure are
features taken from the first empire
Doueuillet puts n high waist line
on his street gowns, which ar" made
of serge, gaberdine, some taffeta and
new material called jersey crenc.
by the mlliners since January. and
street hats that were once made of
satin have been built in this new Kind
of crepe. which was invented as
rival to Jersey.
Doueuillet never oXaggerateS 4 fea-
ture. and for that reason the house
Is beloved by the true Parisienn". In
the last two or three seasons, under
a change of designers and personnel
the house has shown more of a desire
to enter into competition for the
American trade, but before thar 4
was quite satisfied with its high-c!afs
European clientele.
Another feature besides the high
waist that the house of Doueuillet has
revived is the Zouave skirt. which is
turned up at the bottom and attached
to n narrow lining.
The house of Jenny also indorses
this zouave skirt. 1t is probable that
Cheruit was the first designer to in
troduce it in a modified form, but
Jenny has quite made II her own dur
ing the last two years During the
winter she sent over several pale blue
and rose pink silk gowns which were
little more than full skirts dropped
from the waist belt to full Zouave
effect at the ankles.
Because of the overpopularity
which this skirt received by those who
constantly dance and dine in public,
the fastidious woman has kept away
. from the model. She may now find
herself in the position of wanting to
wear it again. 1t is not an altogether
unbecoming fashion and 1t makes the
feet look smaller than 1t is possible
for them to look under the frightened
barrel skirt, which shows up every de-
! f,ta i,,t na L 10 oh "a nf a
foot.
The Round Dccollctagc.
1t is quite evident from the unity
shown by the different dressmakers
in Paris, that they intend to bring in
the round decolletage of the first and
second empire.
Doueulllet is one of the designers
who indorses the court decolletage, as
It used to be known. This displays
the top Of the shoulders and arms,
somewhat after the 1910 method
which became so well known thru the
Empress Eugene, who never failed to
display her famous dropping shoul-
ders.
with these bodices there are orna-
mental straps that go across the up
per part of the shoulder. Few eve
ming gowns have any other kind of
decolletage but the round one. The
difficult line of the renaissance is not
again attempted. Something of the
elegance and dignity of the great
gowns created for the evening is lost
in this kind of decolletage, but 1t is
here to stay for a while. Its introduce
ton, connected with the high waist
line the narrow hem of the skirt and
the pleats at the waist, is sufficient
to create q world full Of new clothes
and to give the dressmakers chance
to persuade every woman that what
she has is deplorably out of style.
No Change i'm Materials.
None of the Paris gowns shows any
| especial or striking novelty in fab