The Birmingham age-herald., 1919-10-05
Cheru and Callot Emphasize the Pannier Which Wdens the Hips-Jet Gowns Offered for Evening-Clothes Cost More Than Ever Before Because Workers Charge More-Monkey Fur and Real
 Roses on the New Frocks

I standing treatment of every fabric she uses for a day gown is the kimono with it's tight hip line, it's widely lapped fronts. it's lack of fastening, it's slim but loose shoulder, flaring sleeve, slight wrinkles across the front and a broad tight sash to draw in the hips. It is the one-piece froclx which is utterly unlike the straisht chemise frock which both Doucet and Callot retain in their collection.
 CALLOTS DRAPERY PERSISTS
 Callot exhibits both the hip pannier and the long Tanagra silhouette with which the house is closely associated. There is the same impeccable Caliot drapery which no one else in the world seems to be able to achieve, just as Worth is never equaled in his own type of wrapped, deeply decollete ceremonial evening gown. Callot continues to make the draped evening frock which begins with point on one shoulder and wraps around the figure till it drops on the floor in another point. But Callot does not rest her collection on this old, even if graceful, silhouette. She was respon-
 
 she continues to use it in modified form. She does not return to the immense clinoline skirt launched by Spain in the 17th century. Poret and Lanvn both use it; Callot tones it down to various kinds of fullness over the hips, a fullness that is supported probably by crinoline. It is interesting that the house shows so large an assortment of chemise frocks. The American buyers feel that they are between the devil and the deep blue sea when they are flanlzed on one side by an old fashion of which Americans are weary and new fashion at which Americans will look askance. It is not an easy season for them. Callot, like Doucet, makes straight flat frock, the background for a sumptuous display ot embroidery. Doucet's splendid surfaces are not suggestive of the Orient; Cal lots are. Each house shows that it has not quite gotten away from the Slavic and Byzantine influence. There is surer touch of authority about the Che ruit collection than in the Callot one; not the authority of handling fabrics, but of standing true to one's convictions and trying to compel the public to wear what one offers Callot gives three distinct silhouettes, straight line, the crinoline effect, the Tenagra drapery. That indi- cates a desire to appeal to women rather than to lead them. The house of Cheduit hits two given points; the kimono for the day and the queer silhouette which she has evolved for the evening for which there is no name. It is something made up in the workroom. There is no historical background for it It is dis | tnctly ungracefuI but it may be modi- 1 fled into grace. How an American girl or woman can appear well in a skirt 1 that does not hesitate at combining | half dozen colors and a dozen different | lengths to it's skirt is the question that | puzzles buyer.
 | The fact that Ceruit produces actual novelties which are far more attractive than the novelty of the chicken feathers used by Doucet and Premet cannot fail to be of vital interest. It is for such inspiration that the American buyers