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at indoor baseball, 6 to 3, Pitcher i streak of
Baggs of Hennepin thus having his cracked.
four shut-out games
GLASS OF FASHION IS THE OPERA GLASS, SAYS
MARGARET MASON A STYLE STORY
BY MARGARET MASON
(Written for the United Press)
When they go forth to-see a play
The ladies, heaven bless 'em ,
Don't care a fig about the plot
But just they way they dress 'em.
In act one, when the heroine
Leaves husband who's untrue,
They think her leaving gown too
Of velvet sapphire blue.
And when she visits Ormonde's flat
At midnight all alone.
Her Russian suit and sable hat
To them all sins condone.
And when she dies in act the last
They think just simply grand
Her negligee of cloth of gold.
It always gets a hand.
New York, Jan. 9. It really mat
ters not these days whether a drama
is played in two or three acts and
two scenes. The real vital secret of
its source is if it be played in two
evening gowns, a street costume and
a negligee. The glass of fashion is
the opera glass, and followers of
fashion get their latest hints from be
hind the footlights.
Among the most striking creations
shown on the New York stage this
winter that have furnished wonderful
copy to poor war victims deprived of
their Paris models, one that has
proved a swooping success and been
fairly pounded upon is worn by Mile.
Dorziat in the last act of "The
Hawk." It is an afternoon toilette of
black Chantilly lace over black satin.
The skirt is very short with the lace
draped up in the front a trifle in
Turkish trouser effect and the short
underskirt of the satin finished with
a fringe of jet. A girdle of the jet
beads twists around the waist twice
and finishes in front with two long
Jasselated ends. Worn over this lacy
ebon frock is a loose, hip length,
sleeveless coat of black velvet, band
ed in sable, tocwhich the long Chan
tilly sleeves of the dress add a fitting
complement. A sable muff and a
smart little jet and sable turban com
plete the costume.
The dramatic life of Madame Na
zimova's new play, "That Sort," was
short-lived, but the memory of her
striking costumes will not soon be
forgotten. One was a house gown of
somber black velvet, loose and
straight of line, from lie long, tight
sleeves and the high, tight collar,
buttoned severely and closely down
the middle of the front to the waist
line and then burst open as if it had
been split up in the middle of the
skirt to turn back its gay futurist
silk lining and reveal a frothy, lace
flounced petticoat of white.
In "The Song of Songs" Irene Fen
wick clothes herself in a justly famed
restaurant supper act in an adorably
simple but daring frock of silver em
broidered lace and cloth of silver. It t
is made sans bodice and sleeves, save '
for a bit of white illusion over each
shoulder. The loose, straight-lined
swath of cloth of silver which reach
es from the bust straight down to the
hip has its severity effect by a two
falls of heavily embroidered silver
lace which from the short ankle
length skirt. It is infantile from the
long waist and fluffy skirt down and
the quintessence of worldly sophis
tication from its long waist up to its
lack of corsage.
The lilac domino that Eleanor
Painter wears in the opera of the
same sartorial name is delightfully
appropriate for a negligee. It is of
softest lilac-hued chiffon, with loose
flowing angle sleeves, the short skirt
draped up in scallops over a lace pet
ticoat and finished with a doublq