Evening star from Washington, District of Columbia • 70

x'r-r-! gomw orv m5m The Perfectly natural Figure Fashion's Ideal Tunics are Wrapped Around the Figure Wasp Waists No Longer in Fashion- The Classic, Natural Figure Fashion's Ideal-Only the Perfect Figure Goes Really Corsetless-New Corsetsthat Produce RIMNBSS is the very last thing an evening gown should suggest. The more intricately draped the gown Is and the more the curves of the figure are revealed by the draperies the more does It suggest modlshness and excessive cost. And there la usually no doubt about the cost of an up-to-date evening gown. The materials, to start with, send the price a-soaring before the services of a dressmaker skillful enough to combine them harmoniously have been considered at all. What with diamante trimmings, metallic laces, crystal and pearl fringes.

Jewel-set buttons, laces veiled by chiffons, and with even the charmeuse which forirts the foundation skirt at four and five dollars the yard the finished cost of miladi's dancing costume is no trifle. Yet when the gown is completed all this magnificence is represented by a soft, flimsy bit of a costume tliat may almost be drawn through a bracelet, even when the fabric is so heavy with bead emproideries that it hangs as straight as an artist's plumb line when off Its wearer. But when then does the soft weighted fabric take to itself the most lovely lines of grace! Then does it ding and wind about its wearer, revealing the contour of hip and limb, of arm and shoulder and softly rounded bosom! And under the dressmaker knows her to be absolutely nothing at all. It may be when the satin skirt is lifted, during the dance or the stepping Into the that you catch a flutter of lace from a supposable petticoat, but from the way that gown clings and 'winds It not seem possible that even a petticoat can find room beneath its draperies. In addition to this clinging and winding effect, the lining of the lace or chiffon bodice is flesh tinted, chiffon or fine net being used, to preserve the delicate, clinging lines of the outer fabric and to accentuate the decollete effect.

Some of the gowns worn in the boxes at the opera this winter appeared to be entirely unlined from the waist line up. The decolletage reached quite to the waist line at HO steals my purse," said jf Shakespeare, "steals may have yfjf been all very well in Shakespeare's day when the good dame carried In the reticule at her belt only a bunch of housewifely keys, a kerchief and perhaps a penny for a It is likely that the dame of modern days would rather lose most anything than be robbed of her costly purse with its treasures of gold opera glasses, jeweled smelling bottle, tiny, expensive watch, rings to be slipped on for dinner hen the glove is removed, hundred-dollai lace handkerchiefs and other "trifles" equally costly. The restaurant Is a gay and frivolous affair, quite different from the smart, convenient carried with street costumes. and in which nothing more interesting than subway tickets, calling cards. drygoQds samples and filthy lucre finds a place.

The restaurant bag, however, Is quite as essential to my lady's happiness and comfort as the less picturesque shopping bas; for now that women have set a "cuff" of the bengaline, bordered with white silk fringe, and fringe also borders the bottom of the oval. A vine pattern is worked with gold beads on the bee and the cuff. The lining is of faintest yellow satin. The handles are of cream silk cord and they pass through a casing concealed under the fringed' cuff This bag is very easy to make and could be copied effectively in a delicate color with fringe to match and crystal or pearl embroidery; in pale gray bengaline. with steel bead embroidery and gray silk fringe, or In black bengaline with jet beading and jet or silk fringe.

Ixmg silk or beaded purses with an opening in the center and sliding rings over this opening make one think of very old-fashioned purses which our great-grandmamma used to carry when mitts were the mode. The ring purse has come in again, on a high tide of fashion from Paris, and though the fad is Just beginning, no doubt these old-timey purses will soon be at the height of favor. The Paris models are all in the form of evening dress accessories, and some of them are large enough to hold a pair of slippers. They are made of beaded silk, of metallic lace over rich colored satins and of venise and crochet laces D.tnrrr bags designed to match evbotbtg costumes. accustomed themselves to having vanity belongings, memorandum pads and other little needfuls of the sort always at hand, they feel quite lost when forced to do without them for a single evening.

All theae pretty belongings are jumbled together in the interior of the soft bag, tor separate pockets are an impossibility on soft, gathered fabrics which are Intended to fall in limp folds in the lap. A very dainty restaurant reticule is shown in Ove photograph of a standing figure. This bag la simply- a long oral of heavy cream bengaliae silk, the top of the oval being clipped off to straight.ppenlng. Around this opening is over rich colored satins and of venlse over pastel silks. The purse illustrated is a huge affair, which is carried 'over the arm like a wrap, and the ends are heavily weighted with bead)ng and bead fringe to make them hang gracefully.

This hag is made of gold and gray changeable taffeta, and the embroidery is done with small gilt and steel beads. The fringe of steel beads and the big tassel of the same beads make the bag very handsome indeed. The sliding rings are of the taffeta incrusted with beads. a a Two smaller restaurant bags, of dainty and practical type, are illustrated in One. of these bags is of fN GoWn the Extremely Loose Dodice "Waistlines Gone Ks-shion.

i the back and often the shoulders were covered only with pearl strings or bands of diamante Shocking? Well, perhaps so, if you look at it that way; but inexpressibly lovely all the same, for so skillfully are fabrics and colors handled that the clinging: chiffons and laces appear to melt into the tone of the flesh on shoulders, neck and arms; and the uncorseted figure lines lend a suggestion of classic dignity and grace which make possible decollete effects which would be out of the question in an era of waspwaists and stiff, trimly drawn corsets under glistening satin bodices. There are women who can wear classic green and white striped ottoman the ailk covering the frame. Black fringe and a black cordeltere handle make this green and white bag very smart and distinguished. The lining is white satin and there is a clasp of dull gilt with sunken emerald cabuchons. The beaded bag shows the new envelope A HOST OF SHALL BBLONGUTG9 CARRIED IN TUB THEATER BAG.

shape fancied in these bags, whole bag being very soft and flexible and a metal bar- under the flap at. the top giving just enough stiffening to hold the beaded fabric in shape. This model is in a dainty Louis XVI pattern wrought with crystal, rose-colored and green beads, live fringe is made of crystal and green beads and tt)e cordelier? handle Is of pale green, silk. The new metal bags are exquisitely dainty and the mesh part of the bag is as soft and supple as silken fabric. Such bags are very" durable, and with a little occasional repairing and redipping once in a while they will last almost-a'lifetime'.

draperies of thin, clinging: stuff over an entirely uncorseted figure; but they are few and far between. Only the lithe, supple, slender young figure with contours absolutely unspoiled can stand this severe test. The beautiful mannequins selected by the couturiers have these young, slim, rounded figures, and they are taught exactly how to walk and to sit, so that the body falls into proper lines of grace under the clinging draperies. But alas for the average woman, even of slender proportions. who dons a Tanagra draped evening gown without the saving grace of a cleverly fitted corset to make harmony between bust and waist and hip! All uniPlatlnum and gold used in stripe effect make the mesh of a new bag very handsome.

The frame was a square jeweled affair and the long chain was also set with jewels. The price of this bag was A HKVIVAIj OP THE OI.D SiTBBIiBEADED PlIRSE. somewhat over $700, and simple silver bag, with gathered mesh, attached to a heavy filagree frame and a chain of silver links long enough to go around the neck and fall below the waist wan priced modestly at $150! A little under the half-hundred mark is a theater bag of crystal beads blown full of gold, so that they closely resemblfe gold beads. The ends of the slik threads on which the gold beads are woven form a fringe at the bottom of the The square frame is of dull gold set with sunken topazes. But, fortunately, all the new reticules are not so expensive.

Among the reasonably priced sorts are adorable bags of intended for use with summer lingerie and lace frocks. Some of these pretty lace bags have metal frames; others are in the popular lap-over envelope style. But always one finda the long cordeliere handle of white cord, with gay tassels dangling at the ends. These bags are made of cream venise lace over cream satin, with gilt frames and shirred pockets Inside, in which are little white satin framed coin purses. Models of princess lace over tinted satin, of crochet lace over linen and of Irish lace over linen and silk are also very attractive and admirable for wear with white summer frocks.

Coiffures for Young Girl. 'T'HE latest In hairdressing is the Mona Lisa effect, copied in modification from the celebrated painting which was stolen from the Liouvre, in Paris, with the parted hair In front and the large flat knots at either side entirely covering the-ears and extending down to the neck. The bang or fringe effect continues to be popular. A Dutch effect in hairdressing has the hair parted from the forehead to the nape of the neck, with knots juft. covering the ears, and has inserted underneath the hair divisions at the front an unusually long and heavy -added piece in the form of a bang extending to the eyebrows.

There is a great liking among, young folks for all-black gowns with furs, and if there is a hat, tfco hat Is with black feathers. formity and flow of line will be lost and she will some of the positions In which she will inevitably fall in the course of a long: a bolster tied in with a string, or a wooden rack on which a garment is hung. There are. of course, special corsets to produce the "corsetless" effect and these corsets are just as necessary to the thin, angular ngure as they are to the stout figure. Chiffon doe9 not cling any more gracefully to sharp angles than it does to billowing curves.

The flg wre natural must be lissome and delicately rounded, and the lines of waist line Ana hip mtirt melt into each other with no sharply defined belt line. "Waists have, of course, been sacrificed unconditionally to this cult of the classic figure- No fashionable woman thinks of having a waist line now "with her evening 'rock. In fact, the "natural-figure" corset emphasizes the sire of the waist and is absolutely uneonstrioted over the diaphragm, so that while the hips and back have long, beautifully graceful lines the of the torso, viewed en silhouette, i presents almost a straight line. This beauitirul line, modeled after the torso line of the Samothrace Victory in the Louvre, is a mays apparent in the natural feminine figure in young womanhood. It is a most subtle and exquisite line and the ordinary corset utterly destroys it.

It is a line that would be impossible under a smart, correctly built tailored suit, or even a conventional frock intended for street or house wear in the morning. It is only permissible as yet in polite society with the clinging, semi-classic evening draperies and with the teagown or neglige of soft silk and lace. The fashionable woman does not risk even the soft folds of a lingerie chemise beneath her expensive classic evening gowns Usually a union suit of glove silk is worn, and this union suit, with the corsetless corset and perhaps a wisp of a mull petticoat finished with a bounce of flatly pleated lace, constitutes the maximum amount of underwear. The glove silk union suit clings like an eel's skin, though it may have a dainty garnishment of embroidery, with real lace at the edges. and It Is matched by embroidered silken stockings of the same finely woven texture, or n'u the transparent tiiread silk.

I hese glove silk garments come in special models for wear with very decollete bodices, and often there are no shoulder straps, the front and back of the garment being held by narrow ribbons, which are untied and tucked down into the corset I wnen the latter has been adjusted. This corset is that unparalleled achievement a corset which produces corsetless lines. Shades of the ancient iron and steel horrors which once decreed the elghteen-inch maximum waist measurement for would Catherine de Medici with her thirteen-inch belt, or yueen Elizabeth with her trim stiff bodIces, have said of the modern corset which gives one the lines or Greek sculpture, whatever mistakes nature may have made with one's own proportions? These new corsetless corsets are, of course. made of the softest, most pliable fabric? a silky, supple mesh called tricot by the I French corsetieres. This fabric is so soft and thin that the folds of drapery over it seem to be drawn over the itself; yet this thin, silky stuff Is wonderfully strong in fiber and the corset is cleverly reinforced at points where the strain comes with stouter material.

Over the curves of hip, limb and back, however, Is only the silky, almost transparent tricot, the few bones that are permitted in the corset being cut off just below the turn of the hip. The corset molds the figure into beautiful natural lines of youth and slenderness. of course; and there are corsets which seem able to produce these girlish lines in even amply developed, matronly figures, without a suggestion of rigidity. Of course a corsetless corset, to bear out its name, must be as soft, pliable and comfortable as one's own flesh, and perhaps it is this feature, as much as any other, which keeps the natural figure in the favor of Dame Fashion. Madame Slmone appeared this winter on the stage in many charming evening gowns, worn absolutely without corsets; yet so perfect is her figure and so beautiful the harmony of lines between hip and waist that it was hard to believe she did not wear some sort, of support in the way of a corset.

Many other classicevening gowns have been worn on the stage this season, but almost invariably, beneath, was the soft, low-cut, almost unboned corset of silky tricot, weave. These corsets, while reaching well over the hip and thigh, and while securely held in position by three or more groups I of garters on each side, extend scarcely above the waist line at the top, clever cut of the fabric allowing plenty of room for free movement of waist muscles and diaphragm, so that the body Is virtually uncorseted above the waist. If the figure Is young and firm no added support is needed under the softly draped bodice. If there is a tendency toward heaviness and embonpoint, a light- brassier Is now under, rather than over, the corset top. so that the soft, pliant lines of nature may be retained.

The beautiful evening gowns pictured on today's page show this uncorseted figure effect in more or less emphatic manner. Perhaps the most pronounced model in this respect Is the chiffon and charmense gown embroidered in diamante effect by Cailot Soeurs. This gown, though worth over a thousand francs, is as limp and soft as a dlshrag. The diamante tunic of jade green chiffon drags downward, under the weight of the crystal bead tassels at either side, over the skirt of white charmeuse, and this clinging skirt is buttoned, up one side with diamond buttons. The uncorseted effect New Ideas in Needlework IN art embroidery the newest and most popular Is punch work, and It la being: effectively Introduced in novel designs on scarfs, centerpieces, pllj low covers and the like, and will also be extensively used-on waists, bags, negliges, children's garments and muslin underwear.

One of the most beautiful patterns in which punch work is employed Is the pond Illy. This is very effective when worked on deep cream linen, the leaves being done in punch work and the buds and full-blown lilies in solid work. The cherry design is attractive. The huge cherries are done in solid embroidery, all white, on a background of green punch work. The leaves are in green and white.

A particularly attractive rose design has the petals, of the rose and the centers of the buds done In punch work, combined with solid embroidery. Deep cream linen is utilized for all these designs, and they are worked on pillow covers, scarfs, centerpieces and such articles. There is an increased variety of designs In cross-stitch work for pillow covers, scarfs, guest towels and waists. This stitch is also used on table linens, sometimes appearing in conjunction with a monogram and sometimes alone. Many quaint little wreaths and garlands of flowers In delicate colorings are being used on the newest luncheon sets.

Colored linens are the latest novelty In materials, a very rich, cream-colored linen being most generally preferred. A striking centerpiece and pillow cover were made of gray linen and had a conventional apple design embroidered in old gold and shades of gray. Another effective pillow cover Is of black linen, with flowers of oriental coloring done in Cross-stitch is also often variously combined with French knots, punch work, eta, but It is equally effective When used alone. Among the favorite designs on waists are the butterfly and the rose. Cross-stitch, French embroidery.

French knots and punch work are extensively employed on neckwear, with punch work in greatest favor. One collar and cuff set In natural linen has punch wort and embroidery In harmonizing shades of tan. Side Jabots are seen in work and colored Frenoh embroidery. The darning stitch Is much used on guest towels, nursery sets and laundry bags. A very attractive nursery set, consisting of a scarf and a table cover, shows ducks worked In the darning stitch In contrasting colors.

The newest package goods include all the materials necessary for embroidery, and often garments are almost made up. with all accessories, such as lace and ribbon, furnished. There is a new triple combination garment which serves the purpose of corset cover, petticoat and drawer. It fastens in the back and is arranged so as to conceal any appearance of the drawer when it is being worn. There are stamped and made-up dressing sacques with boudoir caps to match, and also stamped voile and batiste waists and crape nightgowns.

THE new waists for spring show prominently chiffons and soft silks, chiffons being usually used as a veiling over novelty laces and high-colored silks. Lingerie waists will include voiles, batistes, nets, crepes and all-over embroidery. The majority of sleeves are set In and are made elbow and threequarter lengths for chiffons, silks and lingerie, while tailormades are all full length. Heavy laces are much in evidence as a trimming for the fashionable underbody, as well as contrasting bands of satin, and metal effects in laces. Two or three layers of chiffon are sometimes employed to give a changeable effect to the waist.

There are many waists with an outside finish In the form of peplums, and some with coat or panel effects. The majority, however, are to be worn beneath the aklrt. There is a tendency toward the blaarre In some of the new blouses, being made of chiffon or net, and lined with shot taffeta, and the color schemes In many are opalescent. Others are more vivid with touches of brilliant oriental needlework. A handsome waist of surplice style, made of bleu de navy satin, had the edges all outlined with a band an Inch and a half wide embroidered In rich greens, blues and cherry shades.

There is a liking for vivid colorings in the linings, such as bright yellow, green or Mue. Taffetas are in plain colorings well as In two-tone and striped effects. A waist of chiffon taffeta Is developed in black and white effects, the taffeta being white and all of the trimming of net and embroidery, in black. The sleeves are set in and have very deep cuffs at the elbow. The sleeves and waist are trimmed with large velvet buttons.

Taffeta bolero jackets are among the novelties. Some designs are in old-time regulation cut, and others have a postilion finish below the waist, with a crushed girdle to hold in the jacket at the waist. very attractive net and lace waist now in design, shows a square armhole trimming and the one-side front or vest effect, also the black lace pendant frill jabot, which Is worn across the back between the shoulders, instead of In the front like the ordinary jabot. Further emphasis of the black note is given through bordering the sleeve bands with black net and through the use of a black net collar and a straight row of black velvet buttons down the center front. The net lacs are in champagne color.

A stunning model is of copper tan satin, and shows an Interesting embroidery simulating buttons and buttonholes. It is of kimono cut, with the sleeve fullness set below the turn of the shoulder. The embroidery, which is in black, outlines the collarless neck, forms the double on the front, edges the sleeve cape and trims the. cuffs, arcu panies TheFIoatm? Scarf Lines of the figure, with straight, slender hip lines, uncontined bust and waist, and the straight, classic line in front, is clearly evident in the photograph. Under this gown, however, is one of the soft corsets of tricot mesh, designed to give the beautiful Greek figure lines which the gown suggests.

In the dinner gown of pale inals crepe, embroidered with mandarin yellow motifs, this beautiful Greek line is lost because an oridnarv corset has been donned under the loosely draped bodice. This corset, though low at the top, producer curving lines at bust and hip, and utterly the expression of the couturier's ideal, which was one of simple and classic lines. A black and white restaurant gown by Lonvin illustrates what a clever corsetiere can do for an over-developed figure, in the way of a Greek shape. There Is no definite waist line to this gown; bust, waist and hip melting into each other in artistic harmony of line, without the least effect of rigidity. Many women would hesitate at sacrificing uti terly the arduously preserved trimneas of ja waist line; but it is just this absence I of waist line which gives to the gown i Its lovely, natural lines.

This costume is of white chiffon over pale gray chiffon on which Venise lace is appliqued. The outer tunic of white is heavily studded and embroidered with jet. The large, lacy black hat and the trailing skirt of black charmeuse add definition and chic to the costume. With this Mack and white. gown, and the black and white dinner gown, also pictured, will be worn dainty buttoned boots of black satin or white satin, either being correct with a black and white costume of this character.

The black and white dinner gown the uncorseted figure effect in somewhat more modified form, the soft, natural lines retained, and the skirt drapery, wrapped around limbs, suggests a style just now very extremely graceful. This gown is of white satin, veiled with point crochet lace, and the tunic of black chiffon is trtanmed with appliques of bold, effective white lace. Black velvet sleeve ribbons and sarti. add a strong contrasting note. The floating shoulder scarf has ever been an adjunct of classic figure The Greek maids, in their clinging are always pictured with jury scarfs floating about them.

In the tiine of the directory, when Greek, fashions were revived, every lady carried her scarf. The scarf is an important accessory with the clinging. Greek gowns of today, and one of these scarfs, forming a lovely background for a daint frock. Is pictured. The frock, designs! for dancing and therefore rather short, is of silver net over lavender satin, a veiling tunic of embroidered white chiffon.

The skirt has a band or silver lace, and this lace trims the bodice in one-sided effect. The floating tulle scarf is in a delicate tint of Javender Colbert and Richelieu embroideries are used in conjunction with the finest of fine laces and decorative sashes of novelty ribbons. These embroideries are of a raised or padded sort, and the floral design is executed on extremely sbeer mulls, batiste and handkerchief linens. USES FOR RIBBON. Some of the many uses to which ribbon may be put arc shown in today's drawing.

The flat fichu of lace shown in the upper sketch is bordered on both edges by a frill of two-inch satin ribbon and finished with a bow at the belt. The sleeve cap is also finished with it. The muff is a good model for between seasons, being made of satin covered with full self-tone chiffon and finished on each end by a puffing of the ribbon edged with a ruffle of the same. Ribbon bow and ends on top. The right-hand sketch shows a graceful arrangement of sash drapery made of broad ribbon.

being made in matching colors to be worn with spring tailored suits. A very handsome waist is in white batiste with embroidery In medium-tone Embroidery of an extremely interesting design outlines the narrow guimpe and forms epaulette trimmings on the shoulders. The open neck Is filled In with fine black net, an upstanding though narrow frill finishing the neck. The sleeves are three-quarters long, of straight, full cut, and are drawn Into narrow cuffs of the blue embroidery, which are headed with pleated frills of black net. A most exquisite waist trimmed with St.

Gall em broidery' has flchu-like rovers which trim the front and back, these being Xormed oC the embroidery bauds, edged with a delicate pleated frill irv front. The upper part of the bodice worked in a sheer handkerchief batiste with hand-run tucks, and inflnitesimaliy small lingerie buttons are used almost like an embroidery. The sleeves are straight cut, but are slightly shirred the shoulder bands, which extend from the neck the full length of the sleeve, the fnllness being slightly gathered. The sleeves are trimmed around the bottom with embroidered bands, edged with tiny double-pleated frills. Collarettes and jabots for spring wear are daintily bewitching.

These are fashioned from tulle, cream lacs, fine lineup and moussallM.