The Morning Tulsa daily world. [volume] (Tulsa, Okla.) 1919-1927, 1921-11-20

What brilliant court functions are
10 English society the opera. Is to
America. The utmost OF formal cor
rectncss, of sumptuous elegance is
called for in dress for the opera and
the opening OF opera In New York
city sets the pace for evening dress
all over America. Columns and col
umns in the newspapers, the day
after the important premier night of
opera, are devoted to descriptions Of
clothes worn at the event. And 1t
Is an event--from the sartorlal
standpoint--not merely an occasion.
For this opening opera night coutu-
rlers IN Paris provide some OF their
CHOICEST creations All America, in
ierssted In dress, looks to the open
Ing OF Metropolitan opera for infur-
ma. concerning formal evening
attire for the coming season and the
costumes worn on this occasion
nave signilicanCe and importance
unoqualled by clothes worn at any
one other social function during The
year.
The importance and formality of
the occasion is expressed in the
gowns and wraps Of the women.
Frivolous effects are not for the
opera--at any rate not for the open
ing opera night. Unless IL should
happen to be a season when frivol-
ity rules in fashion; and this is not
such season. Evening gowns now
express dignity, grace, mormality;
and the effect is conveyed by elias
sic lines and flowing draperies.
Here and there one is likely to see
gay little trock a-glitter with beads
and showing the sort. boufiant skirt
Of the Spanish style: but in the main
opera gowns have long classic dra-
peries and a charming continuity of
line rather than any features of CO.
quetry, dash or daring.
Dccolictagc Radically Changed.
Though, some OF the evening
bodices descend almost TO the waist
line at the back, the front Is rather
nigh, with modest effect OF yelling
In the way of lace or chiffon that is
much spfter and more becoming
than the crude baroness OF the past
season or two when evening bodices
consisted, OF n girdlc slung from "A
pair Of shoulder straps. These
bodices were never beautiful and
they were very ugly in
deed-especially in the cheaper
ready TO wear evening frocks which
had no softening line at the top.
skirts OF evening gowns are longer
too, which makes Tor grace and
charm. Some of the costumes have
skirt draperies which hang 30 the
floor, and this irregular hem line.
with draperies dropping longer than
Che skirt itself-is a feature of for
NAL evening gowns. The effect is
perfectly illustrated in one OF the
costumes pictured a typical opera
gown OF the best type, designed by a
very authoritative ccuruyicr. This
a gown OF heiotrope satin richly
- nh hF Ia 49,.
and Jet beads, the embroidered pat
tern forming panels at either side of
the bodice and entirely covering
apron panels that swing at back and
front of the skirt. A feature OF the
costume is the very low. very loose
with flat panels al front
and back and drapery massed az
either side. This drapery is very ful
and Is gathered into a narrow belt
which holds back and front panels
together at either side OF the cosr
tume--a new effect In evening
the drapery falls in
three lengths. one length almost
touching the floor. Though entire
ly sleeveless. the gown has very
modest decOlietagc at the front,
though, the panel at the back IS
siashed down considerably lower
than the front panel of the bodice.
This beautiful gown In holiutrOpe,
amethyst. white and black cN-
presses the idea Of continuity OF line .
referred to earlier In this chat.
Ttfve lines seem TO flow into each .
o her from neck TO ankle and the I
rich fabrics and exquisite colOrs .
blend in perfect, harmony through .
cut the costume. II Is o gown claa-
sicaily beautiful and bound 10 be be- .
coming TO any type Of wearer,
Black and White for the Opera.
Typical OF this years mode also is .
The draped velvet gown with loops of &
Uea1E Here again u the modest
decolletage OF line and artistic con
Iinuity OF line from neck 10 ankle.