The Washington times., 1922-07-16

But we may 1eei reasonapiy sa1e
IN saying that the play is not so
important to the mass Of theater-
gosrs Of today. They go to see the
elaborately beautiful stage settings,
the marvellous lighting effects, and
last, but not least. the fashions.
SO all the world is stage and
fashion poses against the
background that centuries have
been weaving for that tickle mis-
tress. .
History Of the theater clearly
illustrates the reason that stage
styles have not always played the
important role they occupy today.
Greek dramas. although master
pieces. called for no settings and
the style for clothes was the con.
ventional Greek costume. Later,
we find the Elizabethan days with
its crude theaters. poorly lighted.
boasting no scenery and sterotyped
costumes marked by a monotonous
sameness. Never would one
Ophelia (played by a mani differ
from another. nor yet Lady Mac
beth or Caesars wife.
To trace the development of the
theater down through the years
would be a fascinating pastimc
and many enlightening facts would
be exposed. But ours is a discus
sion of the modern stage and it's
influence on the world Of fashion.
The influence of the stage for
good may be seen in several varied
results. One is that to follow the
stage is a quite popular profession.
= one that requires education, years
of careful training, as well as ply.
sical grace and beauty. Hence.
audiences, enjoying the play itself.
admire the actors and resolve, con.
sciously or unconsciously, to copy
thelr costumes.
Designers and modistes recogniz.
ing the fact that actors are but
mirrors in which we see reflected
our own images, clothe the players
IN their newest and most pleasing
reations-knowing that IL the
play be successful-the styles
there portrayed will be successful
and that the next season will find
that style in vogue.
Ie'
I oVELY women on the stage
are inspirations to the designer
and so many gown. created for
an actress and sponsored by her,
becomes a fad the following season.
The frocks that Peggy Wood wore
in "Marjolaine" have been the
basis for many lovely models for
the summer girl. One Is Of pale
pink chiffon. lowered in bouquets
of a deeper pink, with a tucker at
the neckline and pink frills around
the sleeves and hem. The hat
accompanying the frock was OF
cream straw. with a large fri!l
over pin, and a pink satin bow.
3 "A similar case is illustrated by
the gown that Cornelia Skinner
wore in Blood and Sand" As pc.
riod frocks characterized the mode
OF '22-she chose a dinner gown Of
early Italian atmosphere, with it's
long and straight lines, in velvet
Of the delightful shade Of deep
plum. Many have been the ideas
and many the copies Of frocks worn
by Julia Sanderson. And where is
the woman who hasn't planned a
gown just like the one worn by
Ethel Barrymore in "Declasse?"
NOT only gowns. but house
dresses, motor clothes, sport
toys and intimate budoir costumes
are displayed on the modern stage,
for today every phase Of life is
there represented. Lynne Fon-
tame, Vivian Tobin and Violet
Heming have shown US how to
wear the smartest of sport clothes.
II you saw at first-ha the de.
hcious picture that Miss Hemins
made when she wore a one.piece
frock and cape Of black and white
striped khaki.kool. you would want
to go at once and get one like It
for yourself. The hat that was 80
cleverly chosen to go with It was
OF q black taffeta with rows of
stitching in white wool.
Miss Heming also sponsors a
sunmer-day frock of one Of those
delightful new cotton fabrics. In
color-deep rose, pink checked and
piped with white. White also
bound the short sleeves, the soft
roll collar and Jaunty pockets.
For motoring and outdoor events
there are the new knitted coats in
lively tones with their own scarf
attached. Miss Fontanne has
chosen one In a fabric called
''heigho-ho." of a gray and spring.
like yellow. banded with a brown