The Topeka State Journal

There was a time, says a writer in the New York Sun, when the term tailor-made called up visions of a dignified toilet built on the trimmest lines with a finish that was above reproach. But all that has gone by with other evidences of the "simple life" when, in these extravagant days, is a theory all the more attractive because it is so far removed from gray facts. The finish is still here, but it is no longer the finish achieved mainly by the tailor's sewing machine and goose. The whole range of materials from crepe de chine to homespun and tweed are called into use for this spring's tailor suit, and all the trimmings in the manufacturers and the needleworker's category are employed in unstinted extravagance upon it. The last line of demarcation between the tailor and dressmaker is down and both are resorting to devices once monopolized by the milliner. The tailor has abandoned his legitimate tools for the needle, which accomplishes the largest part of his work.

The shoulder and skirt are the centres about which all the new modes are revolving. As to the shoulder, nothing must interfere with its outline, and this mandate extends also to the neck. The summary extends also to the neck. Rine and cape collars continues to be heralded, but they are conspicuous on some of the smartest creations from the best known designers. The pelrine, to be sure, has assumed a shawl-like air and the cape collar is a cape pure and simple or is merged into deep stitched yokes or sleeve caps. The incoming Directoire modes, whose arrival no one is disputing, are bringing with them lapels, waistcoats, deep girdles and shoulders not a whit less sloping than in 1830 models, but with an added breadth and bouffantry.

It would be safe to say that in any collection of models from well known European makers not an observable break could be found between the shoulder and sleeve. This point is sure to be covered by a cape, a cap, a yoke or other detail. But the appearance is obtained in a host of ways, and as likely as not the sleeve is set high, where the slope is most apparent. It is the effect and not the fact that is sought in this or any other year's styles. Some of the new blouses, which are fitted at the bust and below, are shirred at the shoulder, and this shirring falls into line with the shirring of the full sleeve. This is one way of circumventing the situation and blending the high armhole so deftly with folds that its identity is entirely lost. But the cut of such a bodice needs an artist to accomplish it. In a garment like the one referred to, from Paris, the back was notably narrow and was smooth fitting. For a taffeta or messaline suit a broad effect at the shoulder may be obtained by a cape of frivolous cut, made of the double silk, incrusted toward the neck with embroidery or lace, or both. Such capes are fitted to the figure by broad plaits, which give volume to their double edge. Where such a cape is used there needs to be a full sleeve below it with which its folds may mingle.

The Eton blouse and bolero are the favorite jackets for walking suits. The former, as a rule, bags all around, but its pouch at the back has the appearance of a plait which, coming at the waist line, has given it the compound title. As if to forestall styles that will be more pronounced six months from now than at present, lapels, which are quite broad, finish many of the collarless suit wraps. These lapels are made of stitched or tucked silk, embroidery, braided cloth, silk or lace, according to the character of the foundation. From Paris come the tidings that plain tailor-mades are coming out with long fitted coats. But no such influence has been felt on this side of the water.

For sturdy wear there are more than the usual number of attractive materials this spring. Among them browns and grays play a leading part. Such names, titles of certain new tones, as tobacco brown, mouse gray and elephant gray give a pretty definite idea of prominent shades.

The majority of the smartest imported tailormades have full skirts—full clear to the girdle. A large number of such toilets are without the sign of a gore, the volume being plaited or shirred, according to the whim of its maker. Take such a skirt, cut it with two inches on the floor in front and at the sides, and you have this spring's masterpiece of the Parisian couturiere—a garment made without a thought of the exigencies of pedal movements. It is just such extremes that are driving the feminine world to open rebellion against such impediments. To every one it is obvious that if the bouffantry of skirts is encouraged, the introduction of the hoopskirt or a modern guise of it is certain within a twelve-month. That is what the Paris maker is aiming at. May his plans meet defeat and his allies be discomforted!

It is only in the ranks of short cloth tailormades that the hip yoke remains, and there it is likely to stay so long as amplitude at the foot is demanded. The fullness has been gradually creeping upward, until now it is frequently within ten inches or even less of the top. For stout figures the hip yoke cut in one with a front panel is a boon. In voile, silk and other thin fabrics skirts are shirred or plaited directly into the girdle, but unnecessary fullness is discarded by means of gores or by cutting the plaits out from underneath.