The sun. [volume] (New York [N.Y.]) 1916-1920, 1918-12-22
r T Is time to change few things
in womeh's apparel. Women are

in womeh's apparel. Women are
leaping from uniforms into
medieval gowns OF gold, and crystal,
and tulle in brilliant colors, and into
rennashing furs and red street apparel.
sstgnthcant changes are working.
a1Thcre is the new decolletage which
was prophesied weeks age Half a
dozen new ways of cutting the neck
Zine have leaped into existence. and
"a dozen new collars claim the blue
sfibbon. No matter whether we dress
rdifferently about the hips and the
feet, we are dressing decidedly differ
tehtly about the neck and even the
wrists.
tHtIt is in these significant changes
THAT the great mass of women are in
Tterested, but many do not feel that
/ ethey can afford new gowns for the
ffiidseason.
eee The artist who said that all changes
In fashions consisted in the placement
OF the bulge, or the absence Of II,
should have added that open spaces
Twere second in importance. There Is
NO doubt that he was right. The con-
Tour is the thing. It is where a gar
,sfnent goes in or out that determines
9its fashion. Few women there are
who are brave enough to go against
= the contour Of the hour even though
CIT may not suggest the best there is
IN their figures.
A.. Likened to a Toy Balloon.
-r7lIf the designers of clothes were to
nTeduce their work through the CEN
tnries to its component parts, realiz-
ing that they merely play the changes
on curves, or lack Of them, they might
Close hope and interest. They might
1eel that after all their efforts in ap-
Tparel were like a child's efforts to
Tblow out balloon; to partly fill it,
Ito half fill 1t, to blow it into a perfect
s-eurve, and then to watch 1t collapse
80. 1t is not an inspiring thought
Neither is It inspiring to remember
that all our life is governed by the
humber of times we breathe each
minute. If one stopped to count the
cost OF living by that mathematical
process one would feel like dying. The
artist who told the dressmakers that
all their work was determined by the
bulge was discouraging with malice
aforethought. The dressmakers might
hdNc ActOLlcu lldl oil the NOTh OF MS
class was merely mixing pigment. 1t
Is the diversions from the fundamen-
Rtal work of making clothes and paint
sfhg pictures that lift the o into in
yspirational heights.
III No doubt the dressmakers realize
nthat for the sake of trade and their
own comfortable living they must pull
the fabric out here and suppress it
there in building gowns. They realize
that they carry the public with them
land that woman who knows that the
teurve in a fashionable gown is on the
ships and the flare absent on the hem
will not reverse the situation in her
new apparel. She would prefer to stay
4 In the house and wear a kimono.
This preface will make the reformers
cry loud; that is, if reformers read
fashion stories. To Judge from the at
tacSs made on the work OF fashion
writers II is not only probable that
they read everything published but
they seem to digest and memorize it
so that they may be better able to
S'criticise it.
Must Have Coquetry and Beauty.
III It does not seem to enter the minds
of these reformers that il they were