The Birmingham age-herald., 1917-11-03

7
 colors and his artistic employment of Chinese and Persian decorations. New York, November 2.-When one is % fashion reporter and is allowed behind the scenes to glimpse at the romance of the rise and fall of those who give all their art and ingenuity to women's apparel, it Is temptation to depart
 into the bypaths and tell these stories. One has that same feeling of irritation and baffied hope that must possess the shocmakers when 1t is insisted that they stick to their last
 Dress is such a fascinating thing. Frocks. gowns, coats, hats and wraps are not nearly so fascinating. They are ali parts of scheme, but they are only symbols of what is happening. To deal entirely with them simply because one must be practical and instructive and not fantastic and romantic. Is like al- ways talking of shadows and not daring to touch on the substance
 1 Back Of these symbols there Is a vital, l throbbing personality. Fortunes go up and down; hopes go with them. Nara ] tive crowds the hours of the day; in- ! trigue is mixed with politics; and all this l is behind the drop curtain made up oi | the separate garments which are merely | offered as the latest fashions of the sea son.
 COLOR SCHEMES OF BULLOZ l There is the history of Bulloz, for in- | stance. No reporter can fail to feel an
 overwhelming temptation to write 1t up,
 rather than to describe his designs in concrete. From semi -obscurity to flash | ing notoriety is something of a leap to take, but this young French dressmaker | took 1t in the same way that Paul Poiret did, and there are American buyers to- l day who rank him above all other arr lists in France. He Is sensational. but lie
 Is not gaudy or awkward. Whenever yor
 see a frock this winter that has pe- | culiar decorations upon it that seem tC have been drawn from old Chinese and Persian sources, you can safely say tc yourself that it was inspired, if not
 made, by Bulloz.
 l Those who constantly dwell in the
 realm of clothes soon know the sign oi | a great designer. As the critic of art knows the work of certain painter by 8 glance at an infinitesimai portion oi | it ,as a critic of literature knows by the phrasing of sentence the name of the | author, so do those who study clothes know the symbols of each great house | The Persian tree of life may be pu, down as the symbol of Bulloz, because
 he picks 1t up in various places through out his costumery He has gowns that are full of the Chinese spirit as CalIot l has. He takes the great, round plaque of China and bestows 1t upon frock as | a precious gift. He takes direct from the folk lore of old Persia the symbolic tree that brings all the gifts of life and produce bits of 1t or gives it en. I tirely to a gown of satin or velvet. Ht despises what is modern and conven. tionai; he delights in the art of q peo- pie whose art has been dead for cen. | turies
 HIS VELVET CHINESE GOWN l It Is Bulloz who was partly responsi ble for the elimination of conventiona fasteners. All the French designers hay, joined hands in the effort to reduce clothes to primitive state and mak, women forget that buttons, hooks anc eyes and whalebones had ever been in vented to hold fabric together on tn. human form.
 As a good instance of this kind O gown. take the sketch which is giver
 today. The material Is black velvet in very soft weave that falls agains
 the figure The skirt is bordered witt
 a deep band of taupe colored fox, ant
 above this peltry is wide band O Chinese embroidery in red. yellow ant
 gold. The Chinese plaque is placed or
 the bodice in such a manner that tn,