New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-07-01

senbles tulle, and the crepes Of China that
cling to the figure, are the fabrics that VIII 60
toward the making of the dignified gown for
the serious epoch.
There are inky black gowns to be worn
which arc made of Georgette that has no sheen.
These gowns resemble the costume worn by
Ethel BARRYMORE in the tableau where she rep
REGENTS Belgium, tableau which brings sob
70 every throat and tears even to the eyes OF
the actress.
There are gowns Of silver gray charmeuss
that swirl and cling to the figure from shoulder
TO floor. The folds of the skirt are softly
pushed aside by the slippered foot as the
wearer moves.
About all of these gowns which are to come
and which are beginning to make their ap-
pearance among women who dress well there
are no ostentatious ornaments no sensuous
cirdling of the hips in the Oriental manner, no
faint reflection of the bazaars of Delhi.
The colors do not clash like cymbals Of VIC
tory. There is nothing triumphant about their
procession.
These are the clothes of women whose hours
are given to war charities and war relief,
whose leisure time is given to reading htera-
ture that keeps them abreast Of the tremendous
movements on this planet, and whose thoughts
are turned not to Raging the scale but to the
lines of khaki on the Western front.
Mind you, they are not poverty-stricken
clothes The American people are in arms
against unnecessary saving and economy that
means ruin to others. But they are revolt
from what we have been wearing.
And, mind you, also, they arc not ugly
clothes They do not conceal the figure IN
bulky masses or ill-drawn lines. They cover
the figure, but they give due emphasis to Its
graceful proportions. They cover the ankles
and feet, but they add length and dignity to
the line from shoulder to heel.
These clothes have been launched at the
right moment, and it is very possible that the
mad desire for frivolous costumery will disap-
pear as the autumn comes in.
STILL THE CHINESE TOUCH
Over from Paris, where those who repre-
sent us are watching every twist and turn in
fashions, comes the statement that the Chinese
touch grows in strength and Importance. 1t is
no longer advocated by the few but by the
many dressmakers.
There is no wholesale repetition of Chinese
costumery in these modern French gowns. The
single garment that is taken in its original
form is the mandarin coat. 1t is used as an
evening wrap. In America, or in that Eastern
part of it where many smart social affairs
have been occurring in June there has been
superabundance of Chinese coats worn after
candlelght.
One extremely good looking New York woman
who has been told that she somewhat resembles
the artists drawings of Chinese faces con-
stantly appears in the evening with superb
mandarin coat worn over her frock. Her black
hair brushed back from the forehead and rolled
into a Chinese couture completes the picture.
She also adds great fan of peacock feathers
set in sticks of jade. One has a strong i'm
estal Of teakwood.
Over in Paris the Chinese idea Is expressed
in the new gowns in lines well as in en-
broidery and coloring. The attempt is made
to swing gown freely away from the body In
excellent folds and then gather it in somewhere
near the normal waistline by grdle.
There is a dominant Chinese note in tho
house gowns One is made Of jade green vel
vet so thin that it looks like satin. The lining
is of Chinese blue crepe. The mandarin sleeves
completely cover the arms, and the long,
straight widths, front and back, drop to the
ankles.
There is slip Of flesh colored chiffon over
satin, which clings closely to the figure from
collarbone to instep, and over this slip, at \
high wastline, the green velvet material is
caught with large square, Chinese ornament
in jade. There is necklace of jade beads that
drips down the front of the flesh colored bodice
and fastens to the ornament at the waistline.
There is another Chinese gown for dinner or
the theatre, made Of Chinese yellow brocade,