The Washington times., 1923-02-18

green rs IN p8rClCutafss NOTE
worthy feature Of the costumes
and stage setting OF the second
act, where one looks away from
an open terrace to a long per-
spective OF blue-green Spanish
hills, while the near center of the
stage is occupied by the leading
character in a blue-green Velas-
quez velvet and silver cloth gown.
The whole color note OF the
scene radiates in q greenish light
from this center figure"
Other Paris notes proclaim
that green is the color note Of
the season, with flame, orange.
scarlet and. porcelain blue for
evening.
Using the bandanna as the
keystone of the color arch, and
the arch is in no danger OF
crumbling by any decreasing or
wearing away of. the gay kerr
chief, the season flaunts the
most brilliant Of shades and tints
and dares the most unheard-of
combinations. not only in the
materials themselves, as in the
foulards and crepes, but in trim,
mings, sashes and accessories.
PERHAPS the most interesting
of the flamboyant color
schemes is the tad for the bright
Iy colored blouse with the white
skirt. In silk, in crepes, both
silk and woolen, and in leather.
these blouses are pIeasingly at
tractive in their Haunting bril-
liancy.
Printed and embossed feathers
are distinctively new and SAVIOR
Of the Orient, either China and
Japan or the land of the Nile,
where discoveries bring designs
and color schemes to modern de-
signers.
Pleasing is a suit Of finely
pleated wooden crepe as to skirt,
and gayest Of cotton print in an
India design as to coat. The
coat is a coat blouse, and is fin
ished with scarf of the ma
terial. The bottom Of the skirt
repeats the print Of the coat.
Another costume of equal
charm consists of pleated white
skirt in crepe and a jacket OF
emerald green leather stamped
with designs in a black outline
pattern. Black buttons added
further interest to the costume.
Coral rivals green as the favor.
lite color for the picturesque over
blouse or coatee. A three-piece
suit has a pleated skirt of
shantung attached to a blouse
OF the same material, the long
sleeves and dutch neck ending
in pleated ruffles. The sleeve
less coatee hints Of the mandarin,
with its white and rose embossed
splendor.
A ILL this chatter would natur-
ally lead one to believe that
hips are nil, as is the case. This
time, to be on the safe side, let
us get a consensus OF opinion.
Chanel approves the low waistIine.
Agnes models are characterized by
straight silhouette, waistline at tho
hips. The house Of Philippe and
Gaston-sounds like old friends
from the comic page, does it not
emphasizes the low waistline.
and Patou says "waistlines are
low" 1t is the fashion here, too.
and when we look at the albums
of our mothers day, or even the
pictures of our own boarding
school days, how thankful we
should be.
With the low waist emphasis has
come an elaborate girdle STYLE.
Brilljant-colored figured girdles
are used OH plain crepe dresses;
jeweled girdles make evening
gowns of severe line and color.
Sashes. braids, appliques and per-
forated designs are employed to
mark the lovely and agreed upon
waistline.
A dinner dress Of colorful chif-
fon in tints of ashes or rose and
mauVe has a sleeveless blouse that
ripples prettily over a huge sash
and bow, which is really the ends
Of the surplice bodice, crossed in
the back and producing the de.
sired low effect. Another. sash
idea is to pull the soft ends of a
wide and contrasting colored sash
through a jeweled ornament. This
ornament Is repeated in the ear.
rings and perhaps the necklace