The Washington times., 1921-09-04

CnOruS mlnu you, nos ioI PkAhSiPe
often run to twice as much as tn
This will strike the average man
and woman as a good deal to pay
for a single garment. Its an ex-
pensive pace. No one knows that
better than a theatrical producer.
But 1t Is necessary, because the
American public has come to de-
mand great things from the beau.
ties of the stage in the way Of
stunning gowns. 1t Is not too much
to say that the chorus beauty, to q
large extent. dictates the styles
and modes in clothing. hairdress.
millinery and many other things.
to women in every State in the
Union.
SHORT DRESSES ADOPTED
FOR ECONOMY AND STYLE.
The interesting part about all this
Is that 1t is a comparatively recent
development. Fifteen years ago 1t
wasn't so. Then It was the society
women of the country who laid
down the law of what's what In
feminine dress. They got their ideas
almost from Paris, and from Palm
Beach, Newport, Virginia. Hot
Springs, and other nationally fire.
quented resorts. they imposed them
on the public. But the beauty
chorus jumped into competition
about 1907.
suppose that most people do not
realize that the present-day short
skirts. which women young and old
affect, started in the chorus. For a
long time 1t was easy to blame
everything on the war. whether 1t
was a defective flue or a poor sea-
son for mushrooms, but when say
that the present-day short skirts are
due to the war I speak truly. And
this is how 1t came about. In Paris,
in the latter days of 1916, material
for women's clothing became very
expensive and hard to get, with the
result that every woman, already
economizing in astounding ways.
added another sacrifice to her list
she used less material in her frocks.
But It was left for an enterpris-
ing theatrical manager to grasp the
opportunity and make of the depri-
walton a sweeping fashion success.
That winter he brought out a new
revue in which the entire beauty
chorus appeared as attractively
gowned as before. but every girls
skirt was so short that even Paris
gasped a little at so radical change
in the mode.
SELECTING STAGE GOWNS
AN IMPRESSIVE CEREMONY.
Here was an example Of a COM
pletely militarian determination Of
style. Frocks made in this manner
economical in several yards of valu.
able material. They were also more
comfortable than their tight, ankle
clinging precedent, and had the
added charm Of being something alb
solutely new. So at time when the
world was wringing it's hands and
trying to take interest In something
other than war office reports the
short skirt slipped into the affec-
tions and wardrobes of every well.
gowned woman in Paris. OF course.
It spread to London Nand thence to
New York very rapidly, and soon
acquired universal acceptance.
think It viii interest you to know
how II Is that the most gorgeous
dress creations Of the stage are
brought into being. We do not sim
ply turn q dressmaker loose on q
batch OF girls. A far more elaborate
process Is necessary. .....
In the first place, the theatrical
producer summons to his sanctum
his scene artist, the director. a repre-
sentative from a well.known mil
linery salon, together with modistes
from chosen dressmaking establish.
ments.' This Is as important and as
impressive as a bank presidents con.
ference with his directors. With an
artist to present their plans as they
are conceived. these style princes 60
Into executive session and map out
a plan for exactly what gowns, hats,
stockings and footwear are needed
for each ns,nber OF each scene.
Sometimes the modiste is responsi.
BILE for the way the shoulder strap IL
fastened. or the fur cloak Is fastened.
and sometimes the nature Of the