Evening star. [volume] (Washington, D.C.) 1854-1972, 1918-04-21

problem that is more dincult to solve
than the ono that confronts every wom-
an today.
Judging from the multiplicity Of
spring clothes. there Is little doubt that
the ungarnished, plain, tight skirt is
deplored by the dressmakers.
i 4
This is true in America as we'll as
in France, and one makes that state
ment with a boastful feeling today, for
the American houses and designers have
done far-reaching and serious work this
year. They have taken a stand that ID
important What they have devised IN
clothes Is sufficiently brilliant to give
them hopes for the future. They have
acted with authority this season.
quality that has been lacking hereto
fore. They have confidence in them
selves. They begin to believe not IN the
supremacy of American fashions. but In
new fashions that are co-incidental
with those of the French, and equally
wearable.
So when women realize that the
American as well as the French dress
makers have insisted upon tunics as
an offset to the straight narrow skirt
they see that this kind of drapery Is
an accepted fashion, and they grasp at
it eagerly, IL their figures are not at
their best in the limited amount OF
straight material that the tailored suits
offer.
These tunics are diverse in shape, col
oring and ornamentation. They, like
sleeves. are produced in such variety
that they clamor for attention. and Of
fer to every woman phase OF dress
that she alone can wear.
Usually they are on the bias. The
dressmakers like that line.
But the whole story is not told In this
one phrase. There are circular tunics
draped tunics. tunics that are deeply
bordered or embroidered or trimmed
with disks and scrolls. after the Chinese
manner.
There are tunics that do not match
the skirt either in color or fabric, and
outside and so brilliant on the inside
that they are slashed over the hips and
pleated or draped in order that their
glorious interior may attract the at
tention of the observer.
There is compromise tunio that -
nothing more or less than two panels
placed at the waist line to fall over the
hips and touch the hem of the skirt
Many of them do not stop at the hem,
but drop onward to the MOOT wnene
w
broidery When the gown is worn In
the evening these panels rest upon the
floor for ten or fifteen inches. giving
a curious silhouette and often making
bunglesome movement that no woman
but an accomplished actress would wish
to overcome.
Not every one has what is called the
"throneroom walk" and even that
phrase has to do with the imagination
more than with fact, if we are to judge
ky opa of tho brilliant pieceS of writing
that the late Richard Harding Davis
achieved in his description of the coro-
nation of the czar. He made it quite
plain to us in this that the average
woman is apt to walk much moro grace
fully and easily than some of the scions
of nobility represented at the most
ceremonial occasion of old Europe.
X
Therefore, instead of the throne
room walk" we have begun to substi-
tute the "footlight walk: but as yet
there are few actresses who can meas
ure up to the standard set by Ellen
Terry, who dressed by Alma-Tadema,
could manage material that broke over
her feet in foam and crests like waves.
The modern woman would have to
have something of her distinguished
art In walking to get in and out OF
room with any degree of grace in these
floating panels, that are as apt to go
under the feet as away from them.
The simple tunic as it stands. how
ever, should bring joy to the respondent
hearts of many women who look at
clothes from the viewpoint of seeing
nothing for them to wear.
This bit of skirt drapery can be made
to At into all lines and cover all de-
flctencies. 1t may be short or long. bias