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San Antonio light and gazette. [volume] (San Antonio, Tex.) 1909-1911, July 11, 1909, Image 28

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Persistent link: https://chroniclingamerica.loc.gov/lccn/sn86090238/1909-07-11/ed-1/seq-28/

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London, June 26.
AREVOLV"JS<W In dress la coming—
is here.
Duff-Gordon, the "poetical
dressgmpF'” who a few years ago
the world with a series of gowns
every line was to be an emotion
* and the tout ensemble a symphony, noc
turne. ode or rondeau—whichever way
one wanted to look at it. has joined hands
with Poeret. whom Paris calls the Magni
ficent. and in this union of two ancient
enemies two governments rock—one the
empire of fashion and the other the domi
nant party in Parliament because Mrs
Asquith, wife of the Premier, had the
temerity to give a function solely to
“show off" the new gowns, and all Eng
land is very Indignant about it indeed.
The fabrics you see are French fabrics,
and what with the fright over the Ger
mans dropping bombs on London from
airships and coming up the Mersey in
fleets poor England has enough to bother
about without another invasion, surely.
But what does Lady Duff-Gordon care
about ministries or Insular prejudices?
Isn’t she the cousin of Elinor Glyn,
that thin, red-haired woman of wasp-
I’ke words? She is Indeed, and Mrs.
Glyn doesn't care, either. Lady Duff-
Gordon. like Eva Tanguay's song, never
has cared.
Lady Duff-Gordon and M. Poeret have
met. have conferred, have decided. Con
sider the combination. The Frenchman
is proclaimed as the free thinker in dress,
an Aubrey Beardsley In gowning, a
revolutionist in fashions as the pre-
Raphaelltes in canvases and Lady Duff-
Gordon—in public life Madame Lucille—
the most poetic of dressmakers, a veri
table female Oscar Wilde in fabrics.
Poeret is an anarchist designer. Lady
Duff-Gordon knows no law In dressing
except the law of beauty. She Invented
the phrase "emotional gowns.” Divided
they are startling. United the two pre
sent an activity to make quainter worlds
It has been said that their combination
threatens to shake the "Government" of
England. That situation came with the
first announcement of the partisanship
in the shape of a reception given by Mr •.
Asquith at No. 10 Downing street, the
Asquith home In London. Two hundred
invitations to the smartest women In the
city were sent out by the Premier’s wife.
Come and take tea and see the latest
modes, ran the cards.
Nearly all accepted. Lady Craven
eame early and stayed late. So did Lady
Essex and Lady Dickson-Poynder and
Lady Gostord. For three hours three of
Paris's most beautiful maniquens—
Raimonde and Hortense and Josephine,
slipped into and out of the new Poiret
and Lucille gowns. They walked and sat
and stood and smiled. Always they
smiled—for the smile is to the gown what
sunshine Is to the landscape. Besides
they were not now In a shop, but at the
home of the Premier of England, at the
seat or at least the footstool of the Brit
ish Government. It was like the smile of
the cat that ate the canary.
When the first impression of the
kaleidoscope of soft colors, the sheen of
soft fabrics, and the Inevitable tassel,
that is as much the signature of Poiret
as the butterfly of Whistler, the guests
in this audience of "Frocks and Frills"
noted one amazing fact?
The gowns were not new. but old,
most of them one hundred years old.
Back to the portraits by the old masters
both had gone for their inspiration.
Lady Duff-Gordon's fashions were born
In a studio whose walls were covered
Green Chiffon Over Pale Pink
Petticoat; Stole of Gold
with large sketches of the fashions of
Poeret travelled far from Parts for his
latest Inspiration. He has found ft In the
colors of Botticelli; In the Unes of the
robes of angels In the stained glass win
dows of cathedrals of Seville and of
Venice. From these have resulted gowns
in straight Unes, gowns in colors soft but
rich, the purples and crimsons and yel
lows through which the sunshine filters
past stained windows Into the old
churches of the Continent
"They talk of the long, wide skirt. It
shall not be, for It Is not adapted to the
grace of women. The gowns shall be
unirKinq Jashimlwltifs
How Lady Duff-Gordon, the
“Poetical Dressmaker,”
and the Newest Paris Mode
Creator Poeret Hope
• to Make . Popular
the “Emotional Gown,”
Whose Every Line
’'• Must Be. “An i
Aesthetic m
Aspiration ” m
straight »nd narrow, fitting the figure.
Thqse are the graceful gown%” said Poe
ret, “the gowns that women should wear.”
Lady Gordon, standing near, smiled as
“If women could only realize the youth
the gown with the undefined waist line
seems to give them they would never re
turn to the centre tightened waist. 1
meet friends whom I have not se«n for
years in the high-waisted gown,
and they look younger to me than
when I saw them <a<t. in the
hideous disfiguring wasp waist
of those days.”
i a'Oss
Copyright, IMO. by Ameriein«>f:xam!nen Great Britain Rights Reserved
With >
Pale Blue
de Chine
Over Pink
Pink Roses
and Gold
A Group of the “Emotional
Gowns” as Portrayed by a
Famous English Artist.
The Picture
on the
Left Is a
Gown of
Over White
and Gold
and Orange
"The dresses of the last centuries will
be the dresses of to-morrow," she said,
smiling at M. Poeret, who bowed and
nodded In violent assent.
"Madame's aim and my own are the
same. They are one. We are in that
united." said the Frenchman. "Mine is
to abolish the separation of skirt and
bodice—the'ldeal gown Is one long, one
piece robe that envelops the figure, but
does not hide Its beauty. The ancient
modes will become the modern. We will
go to old paintings for our newest
Lady Gordon, with a woman's atten
tion to detail, said:
One charming effect borrowed from
the old portraits is a narrow lace band
just above the hem of the frock. The
lace is transparent and through It can
be seen the silk stockinged ankles and
the buckled shoes. The shoes we nave
also borrowed from old portraits.”
As you see, we depend almost whollv
on material and lines. There Is little
trimming," amended Poeret.
Raimonde. the most 'statuesque of
French models, walked In stately fashion
through the drawing rooms of the Pre
mier's house In a gown copied from a
Rubens painting. She wore a dull robs
of heavy satin that fell In straight folds
about her superb figure. It hung from
the shoulders by two-Inch-wide straps
that slipped picturesquely over them. It
was devqid of trimming. The robe was
fastened in front by a long heavy cord,
silk cord of the same shade of the gown,
and finished by large, heavy tassels. This
picturesque gown was worn over a simple
plaited chemisette of finest muslin, gath
ered full upon a band of the same ma-
On the
Right Is
Shown One
of the Strik
ing “Sym
'at the
Gown of Pale Green Satin, with
Gold and Deep Emerald Em
broidery; Head Scarf of
Orange and Green Chiffon.
terlal. The chemisette was collarless.
The sleeves are scant and straight and
reach only to the elbow, being finished,
as was the neck, by an inch-wide band
of the muslin. The Raimonde wore
also a broad flat band of 014 blue satin
about her dark hair. A scarf of the
satin hung from her arm, to be used
about the head or shoulders at will.
Hortense, another beautiful maul-
A Creation of White Striped
Gauze, with a Green and
Mauve Coat.
quin, followed her In a more elegant
but not more beautiful example of the
picture frocks. She wore a close-fitting
robe of white satin embroidered in gold
with conventional acorn designs. Over
the slip was swathed tn Spanish style
drapery of white net closely embroidered
with gold. The frock was held by three
straps of golden embroidery over the
right shoulder, the Spanish drapery
closely covering the left. With this she
carried a scarf of sapphire blue chiffon
embroidered In gold.
Mrs. Asquith ordered Instantly the
next old portrait gown exhibited. It wag
of green chiffon over a pale pink petti
coat From breast to below the knee*
hung a magnificent stole of gold em
broidery. The scarf Is of a deep apricot
shade brightened by brown sequins.
Lady Craven as quickly chose a mod
ified dlrectolre of mauve taffeta wltH
sapphire blue chiffon sash -and slhrsr.
the dlrectolre slash defined and fastened
by silver ornaments. It was mads over
a slip of embroidered net which peeped
for three Inches below the skirt. revsaJ.
Ing the tiny ankle and buckled shoes of
Mme. Lucille's admiration.
Lady Bell preferred the pale bins
crepe de chine robe that opened to the
waist over a silk and lace and ribbon
knot adorned petticoat of pink chiffon
over pink silk. The scarf was of ptnN
net thickly covered with gold sequins.
Lady Essex ordered for her next
garden party a frock of white striped
gauze trimmed with straight bands of
white silk embroidery alternating with
raised, round cords. Over thio sho woro
a green mantle faced with mauve silk.
The hat was bowl shaped, of dark green
straw, trimmed with flat plumes and bow
strings of mauve velvet. For another
garden party frock she chose the
simplest, but one of the most effective
gowns. It was of Dutch effect, with
straight lines, a high erushed belt, and
for two or three Inches beneath a quilted
silk petticoat showed. The gown was bt
turquoise blue voile. The low necked
chemisette and sleeves were of white em
broidered muslin, the scarf of orange
shot gauze. The hat Is a baby bonnet
of cream colored straw with blue satin
bows. andJribbons edged with lace, and
the brim about the face was outlined by
clusters of forget-me-nots.
It was really a very great success.
Afterward came the storm.
“What does 'e mean by It?” asked the
Indignant British Commons. “Brlngin’
a French man over here to h'invade our
h'industries. Down with 'im.”
The situation has really grown very
serious. Mrs. Asquith is quite unhappy
and blames Lady Dutt-Gordon for -elng
“I don't care.” says Lady Duff-Gordon.
"Beauty is above ministries."
An Indiana Cynic.
(Indianapolis News.)
A daily health hint—kill a fly —Memphis Cone
mercial Appeal.
Which probably will be quite enough
exercise and cause enough household
damage for one day.
A Chinese Bull.
(From Chinese Restaurant Rill of Fare.)
CHOP SUET..... 25
A mixture, fried of Pork, Celery,
Onion, Green Bean Sprouts. Very popu
Same as above, only better. _ . ,

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