Middletown transcript., 1921-12-03
Girdle Adds to
Milady's Frock

smiths trade began to develop in an
interesting way and their work plays
an, important part In the art history
Of both France and Italy. eliminating,
as it were, in the elaborate bronze
decorations of the Empire period.
A remarkable thing about the per-
forated metal girdles is that they are
used on even the most dressy Co.'S
tunes. Lanvin uses them on white
satin dresses, on dresses of colored
latter instance they are straight
around the figure and Of even width.
Those for evening dresses have the
ornaments across the front shaped
like breastplates. In fact, many Of
the ideas are taken from the armOr of
the Renaissance period. One might
wonder in looking at them If they
have been brought out to take the
place Of the. corset.
On Day and Evening Dresses.
It will also be recalled that the
first corsets were worn on the out
side Of the dress and not underneath.
These perforated girdles with broad
ornaments at the front take care of
the natural fullness Of the figure just
over the, stomach.
Martial ct Armand make q great
feature of perforated metal girdles,
using them on both day and evening
dresses. Another novelty belt at this
house is the wide Egyptian girdle,
hand embroidered, the width Of the
girdle being from IL to Is inches.
From it hang long fancy Oriental tas-
sells.
Such girdles are sold separately If
n customer so desires. AS the dresses
are so simple and the girdles so elab-
crate, an order Is often given for
girdle alone, the intention being to
use 1t on frocks which the purchaser
already has.
Another idea borrowed from the
Renaissance period is the padded CIR
die Of embroidered silk. These are
often in materials matching the dress
or Of a handsome brocade. The padded
part is placed across the front and
naturally enlarges the waistline.
A padded belt is astonishing, espe-
cially with the thickest part across
the stomach. It is, indeed, the hour
Of the curveless figure. In some Of
the Lanvin models one sees double
girdle in this padded style through
which the fullness of the skirt drap-
cry is sometimes drawn in puff style
Ia Juliette.
effects. most of them taken from the
Polish Renaissance styles. Some are
padded. and novel in both their coEn-
position and adjustment. On both
day and evening dresses Lanvfn
makes use Of the apron effect and the
most interesting of her new girdles
are worked out In connection with the
adjustment Of the apron drapery.
In addition to pierced metal girdfes
many belts are made of scales or
ribs of metal set together ingeniously
to make the belt flexible. These are
In steel, old silver and dull gold fin
lsh. Sometimes steel scales are COM
bined with large cabochons Of jet.
Every imaginable design is used for
heavy. beaded girdles both in color
and in jet. These often finish with
long fringelike ornaments and tassels
of beads and silk. the tassel orna-
ments often recalling Chinese effects.
Tin and Steel Adorn New Clothes.
Leather ornaments with steel nail
heads appear on the new girdles.
Lanvin uses colored feathers studded
with jet and steel nailheads on very
dressy frocks. the girdles sometimes
eliminating in an ornament.
Another very interesting girdle ef-
feet introduced by Lanvin is obtained
by the use Of . thick girdle of fur
which passes through puff Of silk
and holds the apron drapery of an
afternoon dress.
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