Tulsa daily world. [volume] (Tulsa, Indian Territory [Okla.]) 1905-1919, 1917-10-21

TT Is not possible TO divide the new
gowns into strongly differing sec
tions. No designer has taken II
l. period and copied her gowns
from II with certainly and eAacti-
tude. All of the French and Ameri-
can workers have jumbled their his
tory IN way that would give the
seeker after truth brainstorm.
II Is well for the public at large that
the designers do not stick too closely
to period clothes. When the decora-
tors Insist that one cannot have II
curtain, vase or "A cushion In "A room
that is drawn from a certain period
We get beautiful pieces OF interior
decorative work which should be in a
museum. but which have little rela-
tionship to an Intimate home life.
i. IL Is wise for every woman to
0aru, and 1t would be we'll II one
could only teach the artists and dec
orators the same thing, that exhibi-
ton work is one thing, but the kind
of work that one must live with is
another. We can so to museums or
department shops and see period
rooms and period dress. but human
nature resents the thot of having such
limited environment in which TO
spend ones waking and sleeping
hours. Therefore, we greet with
pleasure the fact that vastly different
periods of history have been dipped
into for the new clothes; but anach-
fOntsm is rife
CaIlOt and the Empire.
The Callot gowns We're the last to
get To this country, and they pre-
sented no new note, except the intro
ductipn of the first empire silhouette
Even when Callot took the most SYM
boic feature of this period. which Is
he - Qi
dies the figure just under the bust,
she added medieval sleeves TO ii that
the Empress Josephine never wore
The most dominant first empire
frock that Callot has sent over is of
brilliant red that is neither eeranium,
japanese nor wine. She calls II in
cendie.' IL has the richness of
ruby in the light and resembles that
Jowei TO the inexperienced eye more
than the flames from a conflaga non.
This gown is not marred by trimming.
AS .he French say. it goes without
a garnish. The neck Is not low in
the way that Callot is apt to arrange
II, and the sleeves not only cover
the arms and wrists but the back of
them hangs TO the knees when the
aims are dropped.
When Callot features new thing,
Il is bound TO be significant. and.
therefore. when she puts modified
angel sleeve in the same gown with
an extreme Josephine waistline she
IL producing something that will be
widely copied and worn by women of
the most ultrafashioD conViC-
uens.
VI As for the rest of the Callot col
lection, the only word that can de-
scribe II is Callot The trousers are
lacking and the oriental effect is
magnified. especially in one gown that
seems TO have been made on the i'm
pulse OF the moment in the same
manner employed by the heroine OF
Felasco's new play. Polly With "a
Past" In this the actress catches up
yards of orange colored velvet in an
Interior decorators room, winds IL
about her figure and then presents
herself as & good imitation Of "a fas-
c,nating French lady who treads the
primrose path.
Probably the medieval sleeve will
receive more attention from Ameri-
can women than the first empire
waistline. This fact is increasingly
evident In the exhibitions of Ameri-
can designed gowns, which have OBJ
vionsly taken the medieval sleeve as
the chief feature.
= An entire chapter of dress could
be written concerning this sleeve. Vt
has played a most historic part in the
evoiuIiOn of fashion thruout the CEN
turies. Like the comets OF the solar
nystem, II comes in and out OF the
arns glare at intervals and can never
be counted as lost.
America was quite well aware that
some type OF long. flowing sleeve
would reappear this autumn. 1t was
1nreshadOwed by the voluniinous tulle
aleevcs that reached to the wrist and
hurg downward in points. Every