Perth Amboy evening news., 1923-09-06

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the ideas for women's clothes come
from is popularity supposed to be an
almost unansW erdsbIe question
something to be put up to the sphinx
who vas extraordinarily good at
riddles. And even from the sphinx
we should expect a vague sort of
answer.
This is because mystery surrounds
so many of the processes in the
evolution of a dress. We realize that
in some strange way manufacturers
OF materials and trimmings. dye
makers, and designers all seem to
work toward similar ends, because
the introduction of a new type of
style brings the suitable materials,
hats and accessories To go with it.
But whether secre codes are en-
ployed, or a spy system, or whether
the soul of he clothing industry
merely works in harmony, few could
say. When YOU know tina. n year,
or even w years elapse between
the time a designer is inspired with
an idea and the appearance of the
fashion, you can see why the femi-
nine public doesn't often under
stand why 1t should be wearing
Spanish styles one season and Rus
sian the next.
Yet the mystery is not quite so
mysterious if you consult a design
expert. Henry Creange IS art direc-
tor for a well known silk firm in
this city, a firm which makes every
thing in the silk line from dress
goods to materials for d~raperies
and cravats. An art director for a
large and versatile establishment
like this must know what is going
TO be fashionable we'll in advance
of Its appearance in she shops. 1t
takes time to plan designs suitable
for specii3 fabrics and 10 have che
goods on hand when the market is
ready. So Mr.. Creange studies and
observes at the possible sources of
fashion, just as dress creators do.
He says that some of the current
fashion influences can be traced
back about two years. AT that time
there was in M~arseilles a colonial
exposition, and the French provinces
displayed their products a n d
achievements. American women
probably see no connection between
their clothes and an exposition in
southern France, but designers
gathered there expecting some rev.
elation of importance to the fashion
world.
Indo-C Chinese Influence
OF the various exhibits, Mr..
Creange and other designers were
most interested In the Indo- Chinese.
A ballet of the Cambogian court
was performed by special permission
Of its royal owner, and the de-
signers absorbed impressions Of fas-
cinating %colors, lines, and designs.
Three or four of the we'll known
dress creators came back and be-
gan to produce garments reminis-
cent of the Indo-Chinese.
The native costumes could not be
used as they were. It was necessary
to change details. The silhouette of
THE native dress-the long narrow
tunic effect-was retained, however,
and can be seen today on the streets.
AS soon as it was seen hat the
new lines would appeal to the dress
trade, designers began to study and
adapt. The dressmaker can fashion
a single dress over night, using the
materials that happen to be handy,
but it takes more time to get a
fashion idea ready for the great
American public. Vivid and exotic
colors and designs, which seem
beautiful with certain skies n set
ings are ridiculous in this country
Examples of this are seen among
the ome of southern Europe, who
come to our shores wearing gay
kerchiefs and skirts. Over there
our drab clothes would be out of the
picture. but here the situation is
reversed. So a good deal of expert
nenting and adaptation was neces-
airy before the styles of the color
full East could he fitted to meet
American limitations.
Meanwhile, other forces were at
work. At the M~arseilles exposition
were men who, Mr.. Creange says.
are not so much fashion artists as
fashionable artists. They are not
directly connected with the great
clothing industry, but they keep in
touch with it, and their ideas in
nuence the trade. These men saw
the various colonial exhibits and abb
sorbed impressions of the eastern
lands. They are poetic individuals.
Their work is more dream-liko and
ess precise than that OF the design
ers for industry.
It is only a step from Indo-China
Ito China Ia q dream and when one