The Birmingham age-herald., 1919-09-28

pipes, so widely rounded that they ap-
 pear to be made of something stiffer
 than cloth. These are placed down each hip.
 Remember that the front and back of 1 the new skirts are fiat There is ne full ness there. There is no fullness in the 1 bodice. The figure is closely confined with cloth at hem at waist. and neck. So odd is the silhouette in some gowns that all one sees Is straight line be- tween outspreading curves.
 STIFFENED> ORGAN PLEATS There is one frock that has these irn-
 mense organ pleats as thick as they were made of sheet iron down each side of cloth skirt; the jacket has the pleats front and back and is flat and plain at sides, just reversing the manipulation of the skirt. The sleeves to this frock are long and bell shaped, the collar is straight
 and high and fastened at the side; 1t is
 made of peltry.
 One of the best developments of the fuIlness at the hips is shown in tunic placed over a black velvet skirt, The
 material is like silk poplin, exquisitely
 soft and the color is a deeper blue than
 cornflower. Over the surface goes rare kind of embroidery done in dull gold thread. It is vague, not aggressive. The
 back and front are shaped like broad straight panels not fitting the figure. The
 sides are arranged in wide bias folds that
 are cut in the material; they do not begin
 until the point of the hips has been
 reached, which makes the tunic possible for stout women. The high collar merely
 rises about the neck. The black velvet skirt is short and narrow. Over the cos tune goes a black velcet coat that hides the tunic, which means that 1t reaches
 to within six inches of the edge of the skirt. This coat has pleated paniers ar
 ranged at the end of long under-arm seams and the fullness gives a chance for the pleats of the blue tuaic beneath not
 to be crushed.
 It is a strange coincidence that an
 hour after this costume was shown
 and one wondered what was its source,
 an exhibition of portraits in Russian artists studio showed fascinating por-
 trait of a man, full length, clothed in
 the Boyard costume that Petter the
 Great banished fro minis court. There
 was the same tunic, in yellow, not blue,
 and the trousers in dull purpls velvet
 looked like a narrow skirt sthey were tucked in the long, slim, red boots. The high collar that swirled to the ears was of gold embroidered purple velvet and the long sleeves had a mandarian flare , at the wrist. Another odd feature of the coincidence was that the @manne- quin who wore the costume in the salon
 was tall with short yellow hair, wildly thrown back from her forehead. and the face had a touch of the mystery and costume was Russian after all and not Spanish; it had to do with Peter the Great and not Phillip the Fourth. The Russian artist who painted the Peter the Great in his decision to ban i ish the national costume of Russia from his court and compel his followers to wear French costumes and speak tn. i French language. That was the be- | beginning of all this trouble" was the dramatic verbal explosion"
 1 There are really a few slim gowns without fullness on the hips. if one would be strictly truthful. for Martial ct Armand. who shows this remarkably ! lovely Boyard costume. also shows one
 of dull reddish duvetyn which has
 slim frock as its foundation. and a