The Birmingham age-herald., 1913-10-26
The Mnret Tunc Late Development Far Eastern Modes Lampshades
Change the Silhouette Feminine and Achieve Metamorphoss In
Fashion Fur and Wire Used To Hold Out Lampshades Of
Soft Material : Smaller Waists Bound To Follow

pearls. The hat accompanying this
costume is of silver gauze yelled with
black net, a creamy buff feather tumb-
ling over draped black velvet crown.
Was the Ancient Hoopskirt Poiret's
Inspiration?
For years and years there have
been rumors with each recurring sea-
son that the hoop skirt would return
to favor. Did M. Poiret In a whim-
sical humor, take advantage of one
of these threats and suddenly hurl
! the hoopskirt as a huge joke upon
femininity? And is he laughing now
in his sleeve to see how femininity
has seized upon this fashion which
for forty years 1t has been pretend
ing to dread?
There is one difference between the
lampshade of 1918 and the hoopskirt
of 1S60--the lampshade is shorter.
This is the sole difference. Also. the
lampshade is boldly Haunted outside
the frock, whereas the hoopskirt of
Victorian times modestly hid itself
under innumerable petticoats. and be-
meath it pantalettes incased the neither
limbs so that if peradventure 1t did
ndPptH " llkt up tiiC iOpSN 49, ''.<
Its wearer descended from street
car or climbed into carryall, no rude
eye was the wiser as to the shape OF
her ankle. But the gay little lamp
shade of 1918 tits itself jauntily this
way and that; and is made In most
cases of thinnest possible stuff SO that
the lines of the figure, draped closely
in clinging stuff. will reveal them
Ia 10
selves beneath 1t. Indeed TINS is
Poiret's idea of the lampshade. All
these short tunics, turned out from
the house Of Poiret, are made OF chif-
fon, lace or some similar diaphanous
material so that the draped siihou-
cite beneath is visible. Poiret does
not hold with the lampshade of veivet
or other non-transparent stuff-these
adaptations of the new mode come
always from other couturiers.
A typical Poiret lampshade costume
is shown in the brilliant dinner gown
with a tunic of Powered chiffon. The
skirt of this gown is Of black satin
meteor very soft and clinging satin,
which outlines the long, sinuous
curves of it's wearer at every move.
Above this clinging black skirt swings
the frivolous little lampshade tunic,
made of black chiffon embroidered
with tiny beads in several shades of
yellow and orange. The lampshade
tunic is, "hooped" at the lower edge,
the wire hoop being hidden under q
band ,of jet trimming. A jet girdle
matches this band and the armholes
of the bodice are also edged with the
jet. Clouds of black tulle are swirled
over bodice and arm. forming airy
sleeves which half veil, half reveal
the white arms and the yellow bead
embroidery of the bodice. Two bands
Of fame red velvet are bound. fllet
fashion around the hair, a white
aigrette shooting off at one side.
Fur An Effective Edge-Trimming.
Sometimes the hoop which always
gives the genuine lampshade tunic its
correct flare. is disguised under band
of fur; and if you will believe 1t, the
couturiers are dyeing fur to match
costume colors this autumn. One may
have ones moleskin any old color
now, from moss green to prune, and
one couturier staggered her patrons
early in September by bringing out
a bright green moleskin coat Think
of grass green fur and its effect in
combination with white velvet. For
the mannequin who wore the coat at
a Face meet in September was garbed