the high collars, and introduced a little slit into the skirts. That was the beginning, the opening gun in the war of the Dance upon the Designer. The Dance has won.
To-day the average woman is wearing a girdle-like corset with elastic instead of bones, and at most two pairs of garters. All the old long, stiff tube corsets are left on the bargain-counters. Nor has this reform stopped with the abolition of the corset, for it is to be noted that the modern shoes are big enough to dance in and are held in place with ribbons. The modern frocks are collarless, and the skirts are subtly cut so that they fall freely and give the perfect ease one must have to dance the modern dances.
Simple coiffures have become the fashion because they do not become untidy when dancing; and for lingerie the dancer now wears a smart pair of silken bloomers and a plaited chiffon or crêpe de Chine petticoat that fluffs out gracefully and hides her ankles when she does the little dip that comes in the Hesitation Waltz and other measures.
The long, awkward, and often soiled train that used to drag behind women in the afternoons and evenings is seen no more. The fashions of 1914 have done away with it, because—you could not dance in a train! Nowadays we dance morning,
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