Perth Amboy evening news., 1923-09-06
HASKIN GIVES EXPLANATION
OF HOW FASHIONS ORIGINATE

of these artists was asked to take
charge of the Grand Prix Ball in
Paris last summer, he decided to use
a Chinese theme. All the guests at
the ball were requested to wear
Chinese or some eastern type of
costume.
Fashion designers attended the
function in full force. They noted
that in all the motley array of
beautiful Chinese costumes blue
seemed to be the most "sympathet-
ic" color. Word went around that
Chinese blue and colors that har-
monte with it would be popular.
This" says Mr.. Creange, was
the crystalization of a note that was
in the air since the Marseilles ex-
position, and it is only at the pres
ent time that the Chinese influence
Is beginning to appear"
How Egyptian Craze Started
The Egyptian craze is not to be
traced back in the same as
the fashions just described. When
excavations of Lord Carnarvon gain
ed great prominence in the public
prints, manufacturers realized that
1t might be well to launch an Egypt
ian style. This was done, in spite of
the fact that Egyptian motifs can
not be adapted easily. The designs
are stiff and of pronounced charac-
teristics. There was no time to study
ways of making the Egyptian angles
and pictures more subtly modern.
Large quantities of Egypt itself,
rather than an Egyptian influence
were presented to the public as the
latest thing. These King Tut styles
themselves illustrate clearly the
difference between the ordinary "in-
1uences' of fashion that filter
through slowly and the styles of I'M
usual origin which do not go
through the fltering process.
In all of the incidents described
save the Egyptian episode France
is the scene of action. There are
balls and exhibits in other coun-
tries of the world. And we hear
now and again that American fash
ions are Independent of Partisan
domination. Why should designers
from this country so persistently
seek Partisan inspiration?
Mr.. Creange says that no one
dressmaking house can influence the
fashion world alone. 1t takes many
people thinking along the same lines
to evolve new ideas. 1t i~s-obviously
to the advantage of designers to see
the same significant things if they
are to dream along the same lines.
Paris has always been the fashion
capital, and American fashion ar
lists still make p~ilgrimages there to
attune themselves to the current
thought.
There is one other reason why
Paris remains so important sartor-
tally. Mr.. Creange points out that
the average woman does not know
how to judge the fine points of diff
ference between two dresses, but
that in Europe there are fifteen or
twenty women who understand the
art of dress. One of these women
an actress perhaps, is impressed with
some feature of dress design differ
ent from what she has been wearing
and she asks a designer to turn out
something reminiscent of 1t. Such
a woman is known as one who Is
always seeking the new and beauti-
ful in clothes. A small group who
watch her will be inspired to wear
something similar, and the grouu
that watch them will adapt the cop
les of the original. The circles be-
come wider until the fashion reach.
es the general public.
The originator of the style is try.
ing to look different. The masses
on the other hand, are trying tc
look alike. That is why designer,
muse over notes and influences, try.
ing to translate a dream of the viv.
id south or the exotic east into ar.
ticles of wearing apparel, that will
attract many people. The result,
must appeal at the same time f.
the feminine desire to be distinctly,
and to the equally feminine desire