Evening star. [volume] (Washington, D.C.) 1854-1972, 1918-10-13
BY ANNE RITTENHoUsE.

TRENCH and American gowns
r. have both appeared in force
since the first of October. They
were in existence since the
first of September. but the public
usually permits the people in the trade
to use September for their own selec-
ton and purchasing, while 1t wears
what 1t has on hand and looks at
clothes with interest, but not always
with the intention to buy.
The demand for conservation has
struck to the heart Of the public. and
the month of September was their
best chance to use their ingenuity in
old costumes and see what could be
done in the way OF alteration and
renovation.
1t must be truthfully said that not
much was done. 1t is difficult to tell
of the process of re-establishing old
clothes that goes on in small centers,
but In the great cities the people who
sell clothes report an extraordinarily
good season beginning the first of
Behind this fact is significant rea-
son, and 1t has to do with the position
Of women in labor. 1t is a tremendous
ssi ,,1 and It has not been done one
the processes OF cause and effect
~
The majority Of women are too ac-
tive today to feel that they have time
to superintend the seamstress. Their
advent into the business world has
given them somewhat the point of view
Of man concerning the alteration OF
clothes. They feel that time. vital
ity and money spent, with the result
debatable, is not efficiency.
AS an offset to this viewpoint there
is the necessity for alteration in thou
sands of households, where the in
come has not been enlarged and where
the clothes must be worn as they are,
in and out of fashion, or altered with
caution and care.
1t is believed, however, that the ma
jority of women are not altering their
clothes. They are wearing them as
they are and buying new ones, even
though they are paying only half the
tumn costumery.
Here again comes a topsy-turvy
condition in clothes The women who
have been accustomed to giving from
500 to $500 for their gowns, who as
rich women were able to do this with
out any strain on the purse, have be-
come economical through what Green
witch village calls the expression of
of the truth. Three-quarters of the
truth lies in the demand for charity
that is put upon rich women, the tre-
mendous income tax and the sensitive
ness about being criticised by others.
which are sold at great prices. will
not be bought as lavishly as before
America entered the war. The class
OF women who wore them have no
gowns that cost from $40 :" to o0 SIS:
Hesitancy? I should say not! Their
boastfulness about it spreads over the
land. To be economical Is a high vir-
tue today. To show that you can look
well on $50 Is to prove yourself pa
triot, is the belief of hundreds Of very
wealthy women.
Now. the reverse Of this picture is
that women who have heretofore paid
at ready-to-wear shop or made at
home in an amateur way by a cheap
dressmaker, are paying from $50 to
$50 for gown. and they shop side by
their huge Irvine bags for parcels.
This, war is doing great deal of
leveling, even If it is on the surface
and even if it doesn't last!
Ihen, II these conditions are true,
asks the public. why the expensive
French gowns? To serve as inspira-
ttion for the dressmakers is the
ianswer.
/ Since the day after Labor day those
of us who are going through the semi
annual process of absorbing or buying
the new fashions for purposes of trade
have seen French and American
gowns paraded before the eyes in
numbers that soon lost their signifi-
lcance. The vision has become weary;
the brain has refused to record i'm
preSsions. The buyers brought home
I from France whatever they thought
was available for inspiration or might
serve as a copy outright, and the
American dresSmakers and designers,
even those who have no idea of aban-
doning Paris for inspiration, turned
out thousands of gowns in which
there was no French label and no
dishonest trick or unworthy lying
about the origin. In truth. some of the
full trade say that their best clientele
were delighted to get and wear
American gowns.
1t may be said, and said with all
reverence for French genius, that the
American designers have gone for
ward in seven-leagued boots since the
war, especially those who were clever
enough to realize that the foundation
stone OF good apparel was in Paris.
Those who know French art best
have created the best American gowns,
and when one speaks Of American
founded on FRENCH inspiration, We
have not the a1iOhfac< ;ptop%;o, -.