Lethbridge Daily Herald, The (Newspaper) - December 12, 1919, Lethbridge, Alberta
festoon- Paris Sees Them and as the American Designer Is IV or king Oat Their Complexities. m 1K7 ti 1 IV--- Gown oE Black Tulle with Jet Sequina. By Msne. If 3 Tfie Famous Creator of Fashions WHEN Paris vibrates with a new fashion it Is immediately recorded by _thc seismo- graph on this side of the Atlantic. It is the business of the American designer to have very exact data on tbe "upheaval" if it may be classed as such or on a "alight shaking up" of feminine fashion, as well as the causes thereof. It is then "up to uj" to make of this new fashion by adapting it to the needs of the Ameri- can woman and making it fit in with her environ- ment or to. disregard it entirely and to. go ahead and create beautiful gowns that may express just much individuality and beauty with as many variations as are found in the ateliers of Paris. The American designers who copy Paris are nev- er successful in the big sense of the word. true artist expresses himself and creates his own beauty. Poiret, Lanvin, Caillot Eoeais, Boeuilkt, earn proceed along their own lines, adopting an era or a silhouette and playing that up in their vari- ous creations. By psychic or material means some one or two salients seem to make them- Ecives Jelt in the collection of each designer end these eventually determine "the style" and suc- ceed in changing also accepted fashien because several o[ the powers that be settle on some one two Dotes as a motif. Poirel and the Hip Line For Instance, at the fall openings in Paris, Poiret expressed the distended hip line in the stiff pleats of the time of Jeanne d'Are, while showed evening drosses whose tkirts were hung with deep flounces of Spanish lace in tha manner of the paintings of Goya and Vclasqnez, Doeuillel revived the basque of 1880 with a full skirt in tiers of circular flounces or pleated frills. Jenny, however, clung to the classic drapery that more nearly follows the outline of the figure, BO there are in Paris two distinct silhouettes, both equally good from the view point of distended bip line and the classic drapery. Tb4 forme? la achieved by pleats or Godot in- irrU in thicker fabrics Euch as cloth, velvet and satin, and by horahair braid in the thlnr.cr gathered skirts of chiffon, tulle and lice- Ths latter is purely Greek in its inspiration and manipulates softly draped materials io the most wonderfully lovely manner. I have always leaned toward the more classic lire because the drapery that follows the human figure with truth and grace is invariably more becoming to the various of women, and al- though I am showing many charming models that pay tribute to the fulness on the hips by pleats and drapery, many of my gowns find their great- est charm and distinction in displaying to ad- vantage the beautiful lines of the natural fitrurc. The Sleeve Queslion Women everywhere are excited about short sleeves. Undoubtedly they are used in pro- fusion, especially on afternoon gowns. They havo even appeared in both Paris and America on the strevt on ungloved arms, but it would be absurd to say that short sleeves are n universal fashion. They are not. sleeves, particularly the sheer tulle sleeves, either draped around the as shown on one of the models illustrated, or floating in scarf-like drapery, arc appearing on the most beautiful evening gowns both here and in Paris. Paris says when the day-time sleeve is short, n coit or cape is ;0 'Dc vvorn DVer Iho frock. True, summer at the races, both sleeves and skirts were excessively short ant] continued to be so until the approach of winter. The short sleeve has nut Wen superseded; many long sleeves arc alss worn, ff'you have pretty arras, you may wear short sleeves. If haven't, let them not provail againat you. The gowns illustrated show bo'.h long and short sleeves on models that arc the latest ex- pression of winter's mode for evening wear. Two of them, tho stray chifTon and the magenta vel- vet, are charming dresses for wear in one's own home. These frocks may be worn io (bo after- noon or evening. The sleeves of the magenta model make of it on adaptable gown for after- Magenta Velvet Embroidered in Silver. O'own of Gold and Black Brocade. noon wear under formal or Informal This dress (hows long sleeves In particularly picturesque lines that give Iho beauty of the vet the greatest possible loveliness In folds and In its reflection of light. The bodice !o devoid of (rimming, chiffon velvet, particularly In this ftt- rjuisilc shade of naftalt, needs little trimming. Its warm red Is so becoming and EO palntablc- It has nil the depth of color of Renaissance picture, carefully guarded I'.nd "worshipped" fo: centuries. The girdle, which is silver, rot too bright, encircles the supple waist and in two long weighted with heavy silver las- sols. Such a gown might have worn when first Paola looked upon her loveliness.' The skirt is not distended. The bcnuty of the icivet fnlls in gathered lines that reflect the shadn of light, like the heart of a wonderful ruby. Traceries of sliver embroidery arc run around the Fkirt and break the straight length of the velvet The fleevcs, you observe, are wrinkled a la mousquetairc- In no other sleeves would the of the velvet iie EO apparent. Why shorten sleeves when graceful arms, In gesture or in repose, may to exquisitely display this TcKct! Long Sleeves in I31ack' Long sleeves also show how lovely they may be on the gown of ttaek net embroidered In jet beads and bugle. The corsage lino is very effec- tive ehowing the net draped sidcwisc across K snugly drawn camisole of black charmcusc satin. The long sleeve, consists of a long length of net edged with jet beads, cn- iwmctl around tho arms. Through this net the while, flesh gleams in effective, loveliness. The straight skirt of net is embroid- ered to represent a double flounce overlapping an underskirt of black charmcusc. It is all in one straight length. Strands of jel in double lines run parallel on the upper part nnd are transversely embroidered with scallops of beads and jewels. De- low the scallops run single lines of jet beads that reach below tho edge of the skirt nnd give an original effect around the ankle. The girdle Is jet and the long train of black net is generously embroidered with bugle and heads. Short sleeves are shown on the gown of blael gold brocade. Its name, "Aprea la Gown of Gray ChifTon with Silver Ribbons and Silver Flowers. expresses the return of splendor and beauty in fashion. The bodice carries the bias line so love- ly on evening gowns. The brocade is outlined with a band of sable nnd the other side of tho decollete la black tulle laid over a camisole bodice of magenta, orange nnd cerise. The skir: is boufTnnt on the hips end the folds of brocade are not abnormally distended and show the grace of the body. A band of fur is laid sidcwisa across this drapery. Silver and Rose Gray is never more than when simply trimmed with silver with perhaps a touch of color. The bodice of the gray chifTon gown shows an interesting neckline that displays a trianglo of flesh which is uncovered on the shoulder. There is an under surplice bodice bound with sil- ver. Over.this is set the jumper-like blouse of chiffon, also bound with silver. First there is n narrow dropskirt that over- laps in the same crossed line as the bodice. This is al3i> bound around the edges with silver. The full overskirt falls in panels on either side and is silver bound. The girdle of rose is embroid- ered with zig-ias lines of silver. The flowers 61 the front of Iho corsage arc cloth of silver, hand wrought The Fashion Forecast The waiat with flaring ri'pptes bids fair to be popular in late winter and early spring anils. The M-fashioncd ridinglittbitioith square pockets and targe silver buttons l.i the source of inspiration for this silhouette. West Korfy-Slxth Et New York.