Evening star., 1920-07-11

| friendly to the type. 1t is low, OF
| rubber and tricot, without hip re-
striction It gives the flesh full play.
| The underlinen-little linen is worn,
an enemy for it has nothing in COM
mon with the starched petticoats that
were permitted in other times.
No matter what flesh woman may
need, she cannot pretend to fullness
through a multiplicity of stin gar
ments. Crepe de chine, jersey silk,
fine nainsook, are intended for ema-
citation and attenuation as for curves
and ripples. She cannot even disguise
thinness by doubling the allotted por-
ton, but she can insist upon the ad-
dition of certain garments which most
women have forgotten. However, she
may build herself up she must not
produce curves. The planked shad
| remains the model of the human feml-
nine figure.
was as helpful to the thin as the trl-
! cot corset. 1t will go out of fashion,
| probably, so it is best to make much
of it while it stays. 1t is not for the
stout woman no matter now much
| she may yearn for it. She persists
| in wearing it, as every dressmaker
knows, but it is as harmful an induI-
gence as sweets to the fat.
| When she learns to avoid bulging
underclothes, the thin woman, she must
| put her mind to the study of colors.
| The vivid she must avoid, the oriental
ization of costumery is not for her as
steady thing, although 1t is permissible,
with discretion, to adopt it in the even
ing if she knows how to make up for
the costume. 1t is wiser not to attempt
it unless her artistry is assured.
Over in Paris there is an embroiderer
who is an artist, as such workers are
apt to be in France, not copyists, but
creators and students, and he once told
me delightfully."- interesting theories OF
his concerning women. Mother-of- pearl.
he called the fair, frail type. This is
an admirable smile for the thin, pale
woman to keep in mind. She will then
unconsciously keep in view, and also
choose the fragile. glinting colors she
should wear.
If she is dark and overly thin. she
cannot be a mother-of-pearl woman.
She must be an autumn woman, select
ing the tones that nature gives to the
woods after the first frost.
! Bright red should be looked at ask
ance, unless it is cleverly mingled with
russet and copper and bronze. Purple
is too difficult to attempt Yellow is
fine when mixed with harmonious dull
tones.
Black is experimental. 1t must be
dealt with as though it were loaded.
The common minglng of black and
white, which the average emaciated
type of figure grows toward old age.
all white is pure artistry.
Certains tones of gray mingled with
faint pink. blue. lavender, orchid, give
the mother of-pearl look the artists
like, but duh gray, unrelieved, is often
a mistake. When transparent and built
over faint pink, it is worth while. Built
over gray, it is anemic.
The desire should be to bring what
ever color there is in the skin and en-
hance it by judicious means. even II
faint rouge must be resorted to, but
not to make a violent contrast to it by
placing gorgeous colors near it.
Even in the APPROACH of middle age
this type of woman may adopt white II
she realizes it's dangers. Stiff white, un-
, redeemed is bad; soft white, touched
with lace or net, with ribbon, white anC
, colored, adds to the frailty of the figure
in an enhancing manner.
She cannot adopt strict clothes. She
cannot wear MILDLY blouses and starchet
waists and pique collars. Hers is not
e the type to indulge in the straight ant
= severely cut lines. She must build ou
{; her white clothes with all the softnes.