Tulsa daily world. [volume] (Tulsa, Indian Territory [Okla.]) 1905-1919, 1918-11-24

/ third. The dccOlletage changes dai'y,
Jackets change wcckiy curves ana
nurs VANISH ana appear again, new
fabIIoa are brought INTO int tur-
mon. lhatldua. women appear in
IEtIItlUH things that hundreds wish
to copy. and the stage exploits the
new IDEAS OF American workers.
THIS - far from dullnesS. IL
causes genuine excitement among
those who go In and out Of the por-
ta.H Of work and pleasure, patriotic
in each. and filled with bot one
thought to live well In order that
they may work well. 30 that they
may give Of all they have 10 the
cause.
Details OF Changes.
1t might make Interesting read
ing 10 run over The fashions OF last
month ana those - this month at
tho points where they ditfrr. In
other days, We would have called 1t
the stabIliZdtiun Of fashions, FOR No
,rIubUr WIb tnu mOuln TO expect that
kInd Of shaping down into settled
serenity after the turmoil OF OctO-
Der. Hut one does not feel that
anything IL stabilized today, not
even In the apparel business, espe-
,iIily under the stimulus Of new con-
diupus. As the war changes We
change,
1t might better be explained by
saying mat this t1onth, much has
been discarded that Eds considered
FIRST elias, Ia Octuber. Those who
showed their gowns IN the season
practically eliminated many OF the
uNcrpOpdAr French models that ar
I ~ a.
| guided by these drc.SmakeIs, there
| fore, had the opportunity to avoid
what was commonplace and overdue.
| Say what you Will, there is "A Keen
| irritation caused 10y paying upwards
Of 5000 for "a copy of Frencu model
| that is In half the shOp windows OF
/ Tn" country, selling for $50. II was
1 uu.y natural. therefore. that changes
/ should come about In not Un.y the
| details Of the gowns fIOIu one month
| To another, but in the ornamentatlon
ana even in the Silhouette.
UncOrsctcd Figure.
These later exhibitions OF clothes,
| by IN" way, aCCcHtuated the corset
less figure. This does not mean that
| the munncquins VINO showed the
| gowns were always without CorsetS
some OF them were. But others wore
/ girdIes OF triCot or elastic. The Cf-
feet was unCorseted. That Was the
vital point.
Some Of the greatest houses in
| Paris insisted upon this effect in
their August exhibitions, but we have
always tabOoed the idea in this ooun-
| try. II Is not possible for any but
the young ana slim to go about in
| clothes that are merely dropped from
| the shoulders and tied around the
waist.
However. II is the duty OF the re-
| porter TO say that the new effect is
| not only exploited by the very lead
crs Of clothes in this country. but
| mat II Is being taken up by dozens
OF slim women.
one of the most interesting moves
In this direction, is a return Of the
Directoire Of Josephine and Nine.
Tallien In the high waistline and the
undoubted convex curve OF the nat
ural figure in front. To the average
woman, this silhouette is unthink-
able; to the artists. sculptors, stage
folk and certain designers, II Is a re-
turn 70 the best there is in fashions.
II is impossible on the middle aged
woman, unless she has kept herself
as thin as an eel.
This silhouette as you can see Is
entirely different from what has been
commonly called the medieval one.
True, in its original state, this was
frankly uncorseted, when II was not
boncd to such deep point in front
that 1t seemed as though the woman
were incased in one OF the intsru-
! ments Of torture used by the InQui-
/ sitlon. This silhouette, which has
/ ,Omc about during the last few weeks
! Is plainly Dircctoire or Roman, for
/ the former was a copy Of the latter.
Its startling innovation IL the
I bringing about OF the line OF girdling
! the figure to the bust instead of the
/ hips. and yet. as II is done by clever
! designers. It really reduces the figure
! tn more narrOwncss than ever. II is
used In connection with a tight,
! Egyptian hip-band that holds tho
! material tightly to the figure and
| then allows IL to drip downward to
! the toes and heels. SO 1t is not pure
/ DircCtOtrC; II is combination OF
! Roman and Egyptian.
Callot's Mummy Frocks.
The house OF Callot also aCcentu-
! ates change in the silhouette from
what we have had from other French
houses. II IL nothing new under the
name OF Callot for 1t was advanced
last February and we called 1t the
| mummy silhouette, for want of a bet
ter name. The gown is really a bag,
with square sleeves and tight ankles.
1t is in striking contrast to the
! straight. Chcmisc tunics of nearly all
| other French houses.
This season It Is not so pronouL ced
in its bag-like proportions 1t takes
on more OF the atmosphere OF a gown
/ Intended for 4 live. and not a lay,