| Show A Callot Inspiration J From roni the th Paris Stage Costumes Ky DY Ji Great Designer Made for a Suppressed Play Daring Conceptions of Color and Style Callot i Makes Period Dresses in Lace Moire and Taffeta J i feta Brocades in Large Patterns Used THEN HEN the Paris police in the I WHEN gUIse of censors for public morals rang down the cur cur- curtain curan cur curtain tain an of the Th Theatre Daunou on the second second night of Jane presentation of Edith de Nantes the fashion world sustained stained a II loss from t standpoint of clothes i iJane Jane who took tool the title role had ne neel ne er el before gone to so EO much expense in the preparation of toilettes for a single piece She had five of the loveliest dresses Cal Cal- Callot Callot Cal Callot lot could make And if stage moral moral- morality morality ity gained an advance in refusing to let the play go on the stage dress certainly suffered red a loss when 11 hen all of these works corks of art from a standpoint of costuming indirectly etl came under the ban I am fortunate in being able to Trench show on to-day's to page sketches of these costumes The figo figure figure fig- fig figure o ure at the center of the page shoes the most striking of these costumes by Callot It is a lovely 10 ore ures s in gorgeous brocade of rose with floral designs green gleen and gold as big as a dinner plate made osera oera o er a petticoat at of gold lace TA i A Flare pf ff Blue Sponsored by Callot CaBot BORDERING BORDERING the edge of the bro bro- brocade bro brocade cade overskirt for overskirt for that is VI what hat it i is 19 being cut away ay in front and sloping down dOlln toward tollard the sides tides and back to form a wide sweep sweeping ng train are are big festoon shaped ornaments of green and and rose lam lame The bodice IS nothing mor more more than a waistband At the back there is a II full length sash panel reaching flom the top of the low e to the hem of 01 the skirt Shirt of a divine mc blue 1 ylie This startling touch of vivid blue v I Ion on a dress of rosy red ade and gl gi een and scintillating gold is typical of Callot's strong flair for blue this ear She uses it at every possible r l opportunity on every sort of dress and in com combination with all the prig mate rays The whole dress IS 13 a daring conception of color and de- de deSign design de design sign and anci was worn w VI orn with w ith great effect effect by who is young and prett pretty Quite in contra contrast t to the magnificence cence sense of this robe is one of Greek simplicity developed in Nile green satin with gold embroidery It is a 11 symphony in soft flowing lines lilies classic in m inspiration and modern in ine expression e It 11 was aas as worn with the grace and style st Ie of a youthful Fari- Fari Pan sienne Another dress in pink satin has haq marvelous embroidery in gray and pink on a tunic of rose tint t posed ona on ona a foundation robe of a slightly deep deep- deeper deeper deeper er tone The embroideries are docu- docu docu that i is so perfect in their executIOn and in style st Ie of design that they speak with authority Only Callot Soeurs could do such wonder wonder- wonderful wonderful ful ones Two Taw models which bespeak the present and near future increasing popularity of pleats also appeared m In this play One Ono is a II dl diess ess en cn- cn I I A At model del y It satiny y J i J bro satin satiny an and pi 1 tunic f tint po poa a fo V robe of x ly 31 d des desI I V I 1 t r 0 t 1 A J sr i iy ii y ya gj ii a i y i GIA EL I II I r sr r t dt ry 4 y a rf li r k i skirted Full F model in primrose yellow and taffeta trimmed with old fashioned scalloped bands of 01 white posed on the yellow and having ha the semblance of 01 ofa a white petticoat revealed rc II ui tb the front froat panes ponti I By SARA M MARSHALL COOK r r- Higher Waistlines Shorter Skirts Is Decree of French Fashion Experts Paris These are arc the thc French capitals capital's style hints hint The Waistline is slightly lightly higher Skirts will be shorter horter than those thosa of the spring and summer Embroidered velvets silk and satins are being shown done in designs that are inspired by old Persians Persian miniatures miniature over All-over braided woolens are being used Em Em- Embroidered broidered fur is one of the fancies for fall Printed silks are much less used pleated made mado in dark green crepe o cr green satin atm There is a girdle of green and cyclamen ribbon and a petticoat like flounce of cob cob- cob cobweb web aeb eb lace that peeps from the front of the skirt This model mode appears at atthe atthe atthe the bottom of to-day's to page The Theother Theother Theother other is a II frock having pleated flounces It is of crepe satin in a lovely tango shade a sort of melon melon- yellow ellow in lapis blue beads and crystals I Thus hus en ends s the story of the frocks of Naughty Edith from Nantes Nantes- Nantes I Nantes where here they make the world famous famous Lu-Lu Lu or Petit Petit Beurre thatis that is 18 to say tea ten biscuits IS said to hate ha ha e been so chagrined atthe at atthe atthe the failure that her friends and admirers ad- ad admIrers ad admirers wonder if these thesa beautiful dresses sad of great c ee- ee bons will III e ever eer er be seen again Callot is making for lor or many manS of her herbest herbest herbest best customers wide aide skirted perIOd styles style in dresses ses of lace moire and taffeta The notable feature of ot the dresses of this type of which there are many others in ParIs Pans 3 3 s the VOr very vry k 4 I 1 Ir Ii r d ti 1 t tI I 1 I r 4 I 1 1 1 II t green c crepe epe over green satin 1 The he gIrdle is of green and cyclamen bb n r marked waistline place places placed normally I In fact the wal waist t is almost pinched in by contrast with tho the flare flara of ot the skirt A typical model of white lace has three spreading vol ants or flounces and anda a deep bertha tho the latter the arms to the elbows The skirt is i veritably as aa at the tho head of cich cseh flounce Is a band tand of stiff still rib rib- ribbon ribbon rib ribbon bon VI which conceals a whalebone which supports the skirt fullness I the figure just at the point where here is found the tho normal waistline is a girdle formed of green and yellow ribbons with long Tol low lads low lads streamers Another is a dress dres of white moire trimmed with Van Dyke Dike points out out- outlined out outlined Ime lined with Ith Pen Per enche blue mOIre hands bands about two inches inches Ide wide There IS a little odd bertha collar of blue mOIre and a tiny tightly drawn gir- gir girdle girdle gir girdle dle which gives the nipped nipped-in waist effect The girdle is in soft cyclamen men pink a II rose which blushes tow to- to to toward w ward and ard blue A particularly striking Callot i model sho shows s four deeply scalloped flounces cut in full circular shape in four shades of porcelain blue sewn to a II basque of white taffeta Here again the tho small smal waist is ac- ac accentuated accentuated ac accentuated by means of an embroidered embroidered embroidered ered belt done in gold threads The same sam embroidery outlines the armholes arm arm- armholes holes arm holes and the neck of the sleeveless and half bodice This dress is shown sho at the upper rig right t of the sketch Illustrated at the lower I lower left of this page is a youthful ful full skirted model model in primrose yellow and white taffeta trimmed with old fashioned old scalloped bands of white whito posed on the yellow and having the semblance of a white petticoat revealed in tHe front panel In rn these days the tho stage is a mat mat- matter matter ter of avish lavish aish expression If It the drama is up-to-date up women arc are alert to the beauty of the clothes worn in inthe inthe inthe the play as indications of styles If of of other ages charming ideas maybe may maybe maybe be gleaned from the costumes Many VI a women omen of social importance send their dressmakers to view car car- certain tam jam plays plais in order to incorporate in 6 i y Jr S Si i f i i 1 4 a i i 11 l If 11 i i I Ia I fi a I y 1 r P i k tiA y of r s sS in gray S j J over AV J l y i lone d 1 I t tt t r Y a 1 A I Ia a h r rt r Y r t 3 L J I E I 0 a t t a af f Two Above Abo Cello Callot models made for r f lane Jane to wear in Edith de Nantes The gown at a the left lell is of r rose green and gold brocade in a floral r de design as large as ai asa aia a dinner plate made 1 I t over o a a petticoat of gold loco lace The Theone one at a the Ilia r night is of green satin with I V gold embroidery their dress ideas that they have havo I seen in stage costumes One of the Important items shown in the influence influence ce of oj the stage on dress s sis is suitability to surroundings surround and to the personality pe Exaggeration belongs to the giddy fashions of the Revue The materials of stage gowns are of the best and it is to th of the average producer that seldom are the tho gowns lot lof of his presentation adversely criticized Lace Models in inA inA inA A Variety of Styles THIS THIS season man many lace dresses are shown shown-as the vogue of the sea sea- seasons seasons seasons sons has brought them forward sa e t to tobe be be interestingly con con- contrasted contrasted con contrasted in varied arrangements from i lines to th the wired taffeta taffeta fete feta bow of a large sash on a car car- certain certain tam tain o filmy go gown Many of the accessories of stage are are Vl worth north rth remembering in de- de deI designing designing de signing c cl lothes thes The The Spa Spanish Spanish ish shawl shaw I of 8 production a new news production has created much feminine interest Do actresses wear their gowns better than the average woman It would be scarcely fair to say so it den depends upon U OIl the tha woman I Iy y lal t Callot model featuring the small waist It has four deeply scalloped flounces cut in deeply cir dr- circular I cular shape in four shades of porcelain blue sewn to a basque bOqua of white taffeta An actress's gowns are usually well well kept kept fresh from little wear weer which Is always beauty in a 8 dress also has the advantage advantage of wearing them on the stage where she Is dressed with the tho greatest of ot The average woman dons doas her ap ap- apparel ap apparel parel and go goes about her day with j jI I little time for tor more than casual ad ad adjustment of dress and hat f The average woman has ha discarded the extreme length of gown urged in some of the new models A long long dress is hampering and difficult to toI I keep clean Formerly the very ex ex- ex extrema ex 1 trema length in gowns was known II and referred to as stage length That was before the short skirt bel be became came general iI I i I Perhaps it was from the tha stags that some practical woman rather weary of trying to keep her hair attractive on sea voyages drew the notion of wearing now commonplace 4 a wig over plainly smoothed hair thus finding herself always tidy and I J of well groomed well groomed appearance The Mode Reflected By the Stage THE THE theater always has a gred gre bearing on dress The clothes seen on the stage reflect the tha mode modo I and have a greater influence on costume than the casual observer I realizes Both the Paris and Amer American ican jean stages are featuring the full skirted full l skirted dresses and it is to these sources that it may attribute its l i renaissance De Designers permit great latitude in inthe inthe inthe the outline of these bouffant skirts and it is interesting to observe the tho thet t I different versions and interpret interpretations l I of this mode It makes little littia J difference whether the hoop or ex- ex extended extended ex extended tended portion of the skirt be at the tha I hemline at the way half mark or at atthe atthe atthe the hips Each dressmaker has a slightly different interpretation J i iA A typical version is a model with I deep pointed scallops at the hem hem 1 The points sweep the grossed ground the cut-away cut portion isso Is so extreme that a short effect is ingeniously produced This frock was seen on the American stage developed from colored rose colored moire The tight fitting tight bodice which was sleeveless wai cut cutin cutin cutin in scalloped form at the waistline and topped by a bertha which served in place of sleeves Garlands of o rose silk and gold cloth doth peeped from beneath the tho bodice and hung down one side of the dress Many are the fabrics that lend lene themselves to wide skirted styles Taffetas and brocades are aro the full sil- sil silhouette silhouette sil silhouette when hen hen always in vogue ogue is exploited but now even soft silks and satins are ara Made up 1 iAto 0 models tt tf |
