Evening star. [volume] (Washington, D.C.) 1854-1972, 1917-12-16
Reappearance Of the Oriental influence in
BY ANNE R1TTENHousE.

lind out where the bulge is and
H. YOU find where the fashion Is.
III This was the opinion of an ar
- fist who studied movement and
color and knew nothing Of the practical
side of apparel Throughout the CEN
turtles of Dress" he continued. 'the stu
dent who deals only with the history
of fashions will find that the entire
difference rests in the bulge-its pres
once, its absence and its placement
One could write chapters dealing Win
the bulge that has gone through cen
turtles of fashion. A skirt goes out al
the hips and in at the ankle. out at the
ankle and in at the hips; sleeves mare
at the elbow, the shoulder or the wrist:
collars rise outward from the neck.
fare over the shoulders, roll downward
TO the coIlarbone. And SO on through
all the details of costumery.
The bulge is so all-important that
woman is hopeIessly out of fashion IN
less she follows its movements. She may
wear the wrong color, compromise on
a fabric that is slightly out OF FASHION
or combine materials that were not IN
tended for each other at their sources,
but she will not put bulge where
bulge should not be. She will Work
temper merely to avoid wearing skirt
that goes out in the wrong place, a
sleeve that flares where 1t should not.
a hipline that is concave when It ought
to be convex.
What in common garden English We
call the bulge" the French more ele-
gantly term 1.-THE movement" 1t is in
tersting and puzzling to those who go
to Paris the first time and hear the dis
cussion of dress in the ateliers of those
who design and sell clothes to hear the
two words-"the ACKNOWLEDGEMENTS
ate every sentence.
If the movement of a gown is right. or
II a celebrated designer, through the
hands and the fabric, brings new
movement into an accomplished result,
the whole fashion of the season is
changed
IT is in the movement of fabric that
the manufacturers rest their hopes of
making fortunes. They know the pub
lie They know the minds of women.
They know that all kinds of 'secretive.
and sometimes pernicious. economy will
be practiced in the camouf1age which
converts old clothes into new. but that
all such economy Is thrown to the
winds when a new movement becomes
the fashion. and. through it's sinuous
lines, throws all others into the dis
card.
The different curves which clothes
have taken during the last two years
are too familiar to women's minds to
recount them. They are as easily re-
membered by the woman who dresses
well as a famous pitchers curves are
remembered by a base ball fan.
And these women, who watch the de-
velopment of line in clothes more than
the Introduction of new colors or fab
RIGS. are now interested in that oriental
movement which is trailing over the
horizon and which We frequently call
bias.
The world has always accredited the
orient with the lines that go across and
around the figure. The primitive peo-
pies are supposed to have wrapped their
clothes about them for centuries, and
the sensuousness of the east is supposed
to be the origin of this bias movement
of fabric on the female figure. 1t is sup
posed to be more alluring than the
straight line. 1t is said to give a more
subtle movement to the curves of the
natural figure than any other kind OF
fabric movement.
The straight line conceals: the bias
line partly reveals. The American In
dian is probably the only great primi-
tive who kept to the straight line In
costumery, as II IT were done in accord
ance with the Indian physical frame
work
Recently. the designers have blended