Evening Star Newspaper, October 11, 1931, Page 47

Gown of red flat crepe, worn by Violet Kemble Cooper in “He." The width at the shoulders of this dre tant new fashions. At the right, a heads, worn with a white dress, by this play. Simplicity of Line, Perfection of Cut and Ab- sence. of Trimming Worn by Violet HE slender or princess silhouette , is talked of as the silhouette of | the coming Winter, despite all the counter chatter of bustles | and period influence. No better i3 example of this silhouette at its best can be found than the beautiful cos- tumes worn by Violet Kemble Cooper in the Theater Guild's first production of the season. “He." | Three of the gowns worn by Miss | Cooper have the princess line featured and beautiful drapery is achleved en- tirely through the fitting of the dress at the waistline, rather than by the raised line at the back, as seems to be the popular method used in clothes for Fall, 1931. In a dress of red crepe de chine the back of the bodice falls in | a soft blousing drapery, and the skirt, | widening at the knees, sweeps into a pointed train. & . | _— IDENED shoulders are a concession | to a popular fashion of the mo- ment, as are also the elaborate siceves. The chastity of the lines of the gowns and the absence of trimming set off the sleeves to excellent advantage and exemplify the fact that repression is an artful and an effective thing in | dress designing. Miss Cooper’s gowns are black, with one exception—the red dress worn in the second act. This is in one of the most attractive new shades of red, & soft and artistic hue that does not clash with its surroundings. The de- s, and its elaborate sleeves, are impor- bag and matching girdle of cut steel one of the women in the audience of Distinguish Those Kemble Cooper. signer of the gown has, in some subtle way, refrained from proclaiming—here is one of the new reds; red is very smart. This is as it should be; truly clever designing makes a dress modern and smart without blatantly proclaint- ing the fact. e i RESS as a background for beauti- . ful jewelry was a feature of the cos- tumies worn by Miss Cooper. A beau. displayed against the plain background of her dresses as rare gems are shown by a jeweler against a background of rich velvet. Even a purse may be an ornament | to a dress if the purse is sufficiently interesting to be displayed, This was proved by Miss Cooper in” her use of a_jet purse with the dress of black silk crepe. In the use of jet we see a | revival of a favorite fashion. | In the audience at the Theater Guild we saw further indications of | the return of beaded ornaments. A white evening dress had for its sole | ornament a girdle of steel beads. An . interesting bag to match the girdle | completed the costume. | Evening coats have followed the way | of dresses in giving more and more | attention to. sleeves. A coat seen in the audience. so short as to be no more than a bolero or Eton jacket, had huge | p;g!d sleeves ending just below the elbow. | New Molyneux Modes PARIS. October 1. ONE of the most interesting events of early September was the return to the legitimate stage of Jeanette Mac- Donald, the popular motion picture actress—a return which proved a real | success instead of the unhappy fiasco made by so many movie stars on the stage. Continental interest was in- creased by Miss MacDonald’s announce- ment that she had decided on this | appearance as a means of ending the rumor which connected her name with that of an heir presumptive to a throne. Her clothes, especially designed for her by Molyneux, received unusual attention as being the expression of a prominent designer after the regular shows were over. Many try to read into such post- collection clothes the trend of the next season. If this may be done, then | Capt. Molyneux has certainly empha- sized the declaration of his August showirg, indorsing modern lines. with only details reminiscent of enother day, rather than the regeneration of former periods which has been an integral part of so many of the collections this sea- son. | Complementing Miss MacDonald's blonde beauty was a gown of gold and - cream-colored brocade, following _the lines of the body, except for the slight blouse all around which Capt. Moly- neux always prefers. The sleeveless coat worn with this gown was edged | all around the bottom with cream-col- | ored ostrich feathers, which brought | the completed wrap well below the ¥\1p‘ line and added to the slender effect of | the skirt. A second costume was of flame-col- ored chiffon with scattered silver em- | broidery. A belt of the material | marked the blousing of the bodice, and | the embroidery, almost solid about the | hips, were scatfered in tiny sprays over | the bodice and the four panels of the | skirt, which was given a decidedly bell- | shaped outline by four sun-pleated | godets, which started just below the hip line. . ‘The first of the Sunday night dinner dances at the Ritz brought out a half dozen varieties of the diminutive new evening gloves which are so intriguing that they may actually persuade women to wear and not carry their gloves. | Like shoes, these gloves should match | the frock in color, or else provide a de- cided note of contrast. There are dozens of ways of decorating these lit- tle gloves, which extend just to the wrist. One pair in a pinky beige shade had a brecelet of pearls, matching the | pear] collar worn with a frock of match- ing moire. Another in flag blue suede | was finished with a brilllant bracelet, | and each of the tiny scall of the pinked edge—and almost all these short gloves are finished in this way—had nother stone at its center. The accom- panying frock was of georgette, with the same strass scattered over it. D. L. M. {vening Jackets. Evening jackets are probably to be as much in evidence this year as last. They were so pretty, so comforting, so convenient, that they won for them- seves a Jeal place of need in our ward- robes. This year there are some lovely ones of lame, most brilliantly colored, supple and soft. These little jackets some- times extend to the hips, and are but- | toned snugly about waist and hips. Some of them are made of velvet, satin and taffeta and end above the normal waist, where they tie about the body snugly and trimly. These jackets are specially attractive with the more bouffant, picturesque type of dress, ) Two-Color Hats. Decidedly new are the hats made of‘\ two colors, such as green and brown, | or of a brigl Black, or emerald and |an_evening dress ht color such as rose and 'sleeves and other details of black, different period. ?)ur Turn Your Back i | RIGET about face, says fashion. | The front of your frock miy be mportant but the burden of the trim- | ming is et the back of .many of the smartest new dresses. It's new to us but it is an old Victorian custom that was especially in evidence in the era of the bustle. Lanvin, for instance, has designed a dress that buttons up the back from the neck to the waist, where 8 prim little sash joins it to the skirt, showing | a tier of four ruffles. |t Louissboulanger puts bustle-puffs on ' frocks. evening- dresses cut down to the waist- | line at the back and Lucile Paray m of velvet that THE SUNDAY STAR, WASHINUITON, D. ¢, OCTOBER 11, 1931—PART THREE. E\ Above, black panne velvet gown with a square decolletage. Left, short evening coiffure, arranged in lengthivise curls. _ Negligee and evening gown designed by Paul Poiret. The negligee is of eggshell satin with the train edged with mitching hare. The evening own is of a new wool lame in gol. with an off-the-shoulder decolletage. he waistline is marked by tiny tucks and the skirt has two sun-pleated godets, one in the front and one in the back. b . The four costumes shown above were worn in the London produc- tion of “Grand Hotel.” From the house of Paul Poiret came the green velvet evening coat above, trimmed with squirrel and worn with a gown of green crepe maro- cain. At the right is a suit by Mainbocher, of soft gray woolen trimmed with gray squirrel. It is worn with a gray felt hat by the same designer. decidedly eclectic—and dresses are therein iles their charm. pBustle drapery is not the only detail emphasizes the backs of our Many of the new evening dresses are es made with a very low back decol- is | letage, emphasized with flowers at the shirred up from the knees to waistline point of the V. And with these low back. There is not necessarjly any consist- | with a narrow straight panel at the back evening dresses sometimes neck- |laces are worn hanging down at the | back, with pendants hanging on the ency about this modern use of bustle spine, ' effects. It may appear on a dress with an entirely | thas and collars, tI bustle ' 50 low at the back, Other evening dresses with lace ber- flug are x"\g: back decolletage. The collar looks, to old-fashioned eyes, as if it were on backward. But it isn’t, of course. It's just that the new mode requires that | t!:ur C:mks be as well dressed as our | ronts. In windy weather put handkerchiefs, |lace blouses and any other very fine articles in a bag to dry, as the wind | Ibeltlnj them against the clothes line otherwise m!fl:t tear 'R Broadcloth. Broadcloth—yes, broadcloth. In spite | of the high regard for rough surfaced woolen fabrics, rough spongy woolens for coats and dull sheer wool crepes for dresses, there is every reason to believe that the smooth, even surface of fine broadcloth will make a strong | bid for favcr as the season advances, Bt trimmed with sable newest sort of evening of pastel tones broad- colored fur. Bath Mat Racks. American bath rooms are usually credited with being the best equipped in the world, and rightly so. But there is a little contraption used in French bath rooms that, so far as we know, is not used here. It is a wooden grating or rack, a few wooden slats raised an inch or so from the floor. This is placed under the bath mat, and it k any water from h to 11 The three large sketches are of Violet Kemble Cooper, now appearis in the Theater Guild's production of “He.” flat crepe, with a one.sided cowl neckl left is matching bag, seen in the audience. scarlet velveteen bolero jacket with pearing The dress above is of black ine and enormous sleeves. At the short puffed sleeves and | fashions. | may find with the ladies of the iate BY MARY MARSHALL Em the- dsst vestige of the deb- utante sfouch. The panther glide may now be| ranked with the snows of vesteryear. For it's chests up and hold your shoulders down and back. and there's no longer any fashionable excuse for hiding the fact that your figure fis composed of a series of graceful curves. | To be sure there are still women who affect the beanpole or sturdy oek| silhouette, but it's no longer the fash- jon and you simply can't wear the newest of the new frocks unless you | carry yourself with poise and erectness. | Of “course this shifting toward a | more erect carriage was bound to come some time but its return was hastened by the return of nineteenth century And whatever faults you Victorian era, you'll have to admit that they did go about with a more soldierly | —or perhaps we should say queenly— bearing than their daughters and PARIS, October 1. 'HE reopening of Longchamps, in spite of the fine sunny weather, brought out both society and manne- quins in new Autumn clothes. Many suits as well as & number of coats were seen without any fur. In some cases this omission was made up for by the collar and muff sets which promise to be taken to fashion's heart with great success. Sunday brought out a number | of the pelerines such as Poiret showed |in his first_collection at Passy—10:17, buttoning all the way down the side or | fastened only at the throat with passe- menterie frogs. Muffs were carried with these in preference to the long fur gauntleted gloves which he showed. One such outfit in moleskin, lined with bright red, had a muff-purse and was worn over a black coat which concealed a red marocain dress, like the lining of the fur set. A cornucopia was another new muff Fashion Makes New Demand—“Chest Up!” Is Latest Dress Word—Wider Shoulders "and Bustle Drapery Mean Curved Silhouette Is Once More Ideal. | granddaughters of the early twentieth | century. Wide shoulders are one of the new fashions that we hear much about, and they work both ways. They make ! us look more erect and they demand a more erect posture. More slender waistlines are demanded by fashion now, and if you allow yourself to" slouch about and if you sit all in a heap on a chair or divan you simply cannot make the most of the natural slenderness of waist which nature has | given you. ¢ And now comes the upward-at-the- back movement, very reminiscent of the fashions of the 1880's. Skirts are made with apron drapery that leaves a flat arrangement of material at the front, with ruffles or drapes at the side and back. Peplums and panels are | all constructed with this up. he- back effect at least suggetted and now there is a tendency toward a bustle which is of course only a suggestion but which makes it necessary to hold the hips back Furless Suits and Coats form, in dark gray breitschwanz. This had the advantage of being slipped up over one cuff, like a gauntlet, when the wearer was busy with program and pencil. Narrow brims that roll away from the face, and toques, gathered off the face and hair at one side, were new millinery notes. The dripping ostrich plumes of the late Summer races were not in evi- dence, their place being taken by straight upstanding quills or little ostrich fancies. ‘This week at the Ritz at tea time & black broadcloth coat was noticed with revers which turned back on themselves* {to their origin, the throat being out- | lined with a single band of white ermine which ended in a discreet bow at the point where the doubled revers ended.: At the same table a hat in brown was half of felt, with the brim sharply turned back on the right side, the entire left side of the hat being of folds of the same shade of velvet. D. L. M. London Production Expertly Costumed AMERICAN interest was strong in the London production of “Grand Hotel,” the production being by Gil- bert Miller for Mary Leonard, the Denver girl who bought the book as European representative of Doubleday, Doran. Miss Leonard acquired the English theatrical rights for herself. The play might be said to be an in- ternational affair, with a German author, an American production, and French and English clothes for a London presentation. TIsobel of London made the first act negligee for Mme. Miramova, who cre- ated the role of the dancer, of red and gold brocade, trirmed with brown fox and cut on Russian lines. The lining was of clel blue crepe de chine. But Mainbocher not only made the last act suit of gray wool, with its bow collar of matching squirrel, but all thé ac- cessories, including the hat of draped ay felt with a knot in front and wisted ends in the back, the purse of the suit material with silver frame, and the gray suede pull-on gloves. Paul Poiret, Inc., are responsible for the long coat of bottle green velvet with squirrel trimming, treated in a new way to make it especially lustrous. It is accom 2 matcl dress of crepe marocain. A new wobl lame in gold is used for the evening dress cut along princess lines, with an empire decolletage, and tiny tucks at the waistline. The neglige, from the same house, is in eggshell satin with a train edged with matching hare. n the World War art was reco as an element of education and social througl floor. The mat absorbs it all and leaves P because nof else in the meould mflc 80 vividly human memory. Much Color. You may wear what colors you will | this season, for the fashionable choice | is limitless. Red tones with a shade. | of yellow, such as flame, or with a- | touch of purple, such as fuchsia, pinks ranging from the palest pastel tones. to deep rose, greens of a mellow sofi cast, brillisrt greens and very greens, blues occasionally—sometimes showing a cmbination of paste! blue - with a brighier tone, yellows, pale or of a golden tone, and most significant of all shades of the violet range which have been so little used the past few seagons. ~ But remember, please, that color is important. Dressmakers have been. courageous in their use of it this sea- son and to get the most out of the new mode we should be courageous, too. It | is more than a mere whim of fashion— this revival of interest in celor. If we use it rightly it will contribute a note of good cheer and joyousness. Tweed Linings. Some of the new fur coats are trim- med and lined with tweed, and are reversible—so that they become tweed coats lined and trimmed with fur. ‘When worn fur side out, there are ¢ol- lar, cuffs and belt of the tweed. Carved Ivory. You have doubtless often wondered just how the tihy ivory figures that people use for charms or amulets are carved. They are carved with tiny in- struments hardly bigger than needles, under water. Sometimes, of course, wudmwm-m