Martinsburg W Va evening journal. [volume] (Martinsburg, W. Va.) 1913-1920, 1918-01-03

reason Why oIlclisi4g approaching the
tie-back skirg and the hustle Of 1870
50 should not appear quite gradually
over the horizon for the better class
Of clothes.
Nothing More Than Soft Drapery.
You know by this time, of course.
that the busele is nothing more than
a hideous word for a bit of soft
drapery arranged to break the tight
and often inarustic line across the
figure at the end of the spine. This
drapery Is the saving grace on certain
types of broad, stout figures. 1t may
be almost impossible to believe that
among this race of fiat-hipped, long
limbed, slim-chested, big-waisted
American women, which the last ten
years have produced, there are still
women, and many Of them, who have
what is called the ancient figure. OF
course, it is not the ancient figure at
all, for that is the new figure to which
~ modernists aspire, but what the
dressmakers mean by the phrase is the
1880 figure. which has never been con-
trclled or suppre ssed or even treated
with contempt by certain segment of
american women. Chests out, stom-
achs In, hips rounded and waists
frightened is the artificial figure that
was stamped upon three generations
VI American women and has not en-
tirely died out.
There are other women who have
long since forgotten that they ever
had a waist, but they cannot submerge
the flesh around their hips and back
and they look their worst in chernise,
tunic and sandwich gowns. There
fore, the hustle drapery is for them.
II the dressmakers can handle 1t In
manner that suggests novelty and
achieves artistic results, we shall prob
ably see 1t in the foremost fashions.
Now as to the French bustlc--it was
copied from the DIrectoire period and
taken. like all the Directoire clothes,
from the fashions of century before
Napoleon aspired to control Of France.
It merely transposes the drapery as
the Americans use it, from the back
TO the front.
Bulloz is the apostle Of this hustle,
IL you can cali the drapery in front
by that name. Bulloz, through his
color schemes and his daring, has
assumed something Of the widespread
authority in clothes that Paul Poiret
held, undisputed, until he went to war.
Bulloz dips his hands deep into his
tory, pulls out anything his fingers
can grasp and puts all that he finds
into the most modern Of clothes. Two
years ago his efforts were not taken
seriously in this country today, all
the designers over here who wish to
cater to an exclusive patronage, buy
freely Of Bulloz.
The hallmark of his work this sea-
son is that drapery across the front
Of the figure below the waist. 1t is
deity done. This drapery really sinks
down into the cascades that run be-
low the knees at each side.
UpIifted Line In skirt.
The entire dressmaking world of
Paris was bit touched with this fash
ion. When you look at all the new
gowns that smart women appear in,
and whep you gaze at the shop win
dows to try to choose the frock you
would like to wear, you may notice
that common thread Of idea runs
through them all In this uplifted line
in the front of the skirt.
This trick. as you remember, is not
new to the twentieth century. 1t be-
longs to the days out of whiel. Goethe
created Faust. Throughout the six
teenth and seventeenth centuries,
there was a disposition to drag the
clothes up in the front and tie them
in loops and drapery below the waist
line by running cord under the full
ness.
1t looks as though revival OF this
fashion were upon us. The skirts are
dragged UP so definitely in front either