davidaulloa/AmericanStories huggingface dataset:
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1924-03-16

silhouette. Superlatives may be
unblushingly employed in describ-
ing the splendid philanderings of
the new mode. Pleat. flounce ard
tunic are the rungs on which the
Paris designer ascends the
heights.
Chanel was one of the first
houses to show the apron-like tun-
ic several seasons ago. She has
continued to feature the idea
and her present collection
contains many lovely dresses in
this style. The apron motif al.
lows many variations-it may be
shaped, round, pointed or elong.
ated with the fullness at the sides
or it may be pleated. The old
fashioned apron style with narrow
tie strings that knot at the back is
an ancient theme which has beer
rejuvenated.
This designer features the drap-
ed tunic which wraps the figure
and falls in cascading points al
the side as we'll as the slightly
elongated tunic terminating in
soft pleated folds. A characters.
tic tunic is attached in such a
manner as to fasteh the upper
point of the flowing end to the
back of the left shoulder-its
chief virtue is the facile grace
with which the wing-like points
cascade at the side. incidentally,
these points are cut in one with
the tunic. A similar idea is car
ried out on evening dresses devel-
oped in mousseline de sole, crepe
georgette and lace.
Another novel drapery is also
wing-like in conception. 1t is q
panel about IL to Is inches wide,
which extends the full length o!
the dress and is attached at one
side from the shoulder to just be-
low the waistline. From this lat
ter point it is allowed to hang
freely. A charming evening
gown of this character, developed
in black mousseline de sole, shows
a band of pink mousseline inserted
in the robe at the hips, both front
and back. This band of color ex-
tends onto the wingl;ke panels.
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1924-03-16
Small Hats Lead,
But Larger Ones
Are Prophesied
Irrespective of Fabric, Black
Is Predominant in New
est Millinery Launched
by the Partisan Modistes.

Large hats mingle with small
ones in the new Paris collection,
although the latter still dominate
the showings of the French mod
istes. The proportion is about
three small hats to one large, but
it is noteworthy that wide brim-
med models are gradually acquir-
ing a more important position, in
the salons of the prominent mil
liners-Lewis, Lucie Hamar, Re-
boux Talbot and Maria Guy.
Lewis, the man milliner of Par
is, runs the entire gamut in his
new models. The high Directoire
shape, the ample regular straw,
versions of the cloche with upturn-
ed brims and picot crowns, all dis
tinguish the offerings of this de-
signer. Satin ribbons, feathers
metal Valenciennes lacee and ORR
entail ornaments are the most fire.
quent trimming note.
Lucie Hamar retains a marked
preference for the cloche despite q
large attractive model of silver
and pale green ribbon trimmed
with flowers. Her small shapes
are trimmed with velvet flowers,
ribbons and foliage.
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1924-03-16

inch to two inches, box pleats of
varying size, knife pleats and tiny
tucks. Their uses are as varied as
their character.
His tailored street dresses show
box pleats an inch in width down
the back from shoulder to hem
Two very interesting models OF
this type are Promenade Martin
ale, developed in black and white
checked plaid alpaca, and Refine
Marguerite, model Of beige
serge. Both models have surplicc
front closings, long tight-fitting
sleeves and hang very straight.
Sport dresses of crepe de chine
show tiny tucks running the entire
length of the dress, front and back.
Others show side pleats and drawn
thread designs in combination.
The flounce, a very important
elaboration of the spring mode,
is the outstanding feature of an
Agnes frock, pictured at the up
per right of today's page. 1t is
circular and shaped-the circular
movement being confined to the
front only, while the back hangs
perfectly straight and is quite
without the faintest suggestion of
fullness. The model is developed
in navy blue alpaca and is in robe
manteau style with surplice clos
ing. The shawl collar is formed
of three frills of white lace. The
sleeves are seven-eighths long and
have a cuff trimming consisting O.
narrow white pipings-protruding
from underneath them are puff
sleeves of white linen. The but
tons down the left side are of
black bone.
Another striking use of the
flounce by Agnes is exemrlified in
black cire satin and white georg-
cite crepe dress, the skirt of which
is satin with three-tiered flounce
across the front, while the bodice
is of white georgette crepe en-
broidered in tiny flowers of high
colors. A jacket of black satin,
also cire, which accompanies this
frock is slashed at tie sides from
hipline to waist and edged with
bright green silk.
Flounces in Many Varieties Are
Il
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1924-03-16
Black Hats Favored BY
Partisan Modistes

Black is the favored color medi-
UNI of Maria Guy, who features
the Directoire shape and centers
her trimmings at the back. Rib
bons and flowers, notably roses
with long soft petals, are the prin.
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1924-03-16

on street dresses, suits and coats
and on afternoon and restaurant
frocks. There are side pleats in
all widths, from one-quarter of an
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1924-03-16
Pea Founce and Tunc Are the Three Graces of the Mod

/ by an incrustation of embroidered
pink roses. Taffeta, satin and
straw are the principal fabrics of
the Germaine collection, which
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1924-03-16
Low WaiStline VieS
With DirectOire in
New Paris Models
Others Show No Line What
ever; When Present 1t Is
Marked in Front, While
the Back Is Subdued.

Inc nOmdu WalSCnne, always
advertisement for the French cou-
turier, has wandered further afield
than is its wont in this season Of
the simple silhouette. Indeed, its
journeyings in some instances
have entirely effaced it from the
costume. Yet on one point all
Paris is in accord-the waistline
cannot be au naturel.
The higher line boasts an impos-
ing list Of sponsors. There is
Jeanne Hallee, who has sounded
the Directoire theme in her frocks
her models feature various
treatments of the high waist, in
GLIDING some rather bizarre eff
fects. On one frock the waist is
high on one side and low on the
other-another dress shows a high
line in front and an extremely low
one in back. Martial ct Armand
have also succumbe1 to the appeal
of the observation-disclosures is a
waistline typical of that period,
almost unnoticeable at the back
and markedly high in front. This
effect is achieved through the
adroit manipulation of embroid-
cry, cut bands and drapery. Cher
uit, whose slim silhouette and
short skirts require only the mer-I
est suggestion at the waist, has
moved the line perceptibly higher
than on her models of last season.
No Waistline Is Seen In Latest h
Sports Clothes
Jenny, favoring the long tunic|
closely fitted over narrow slips
which are double and triple tered
at the bottom, frequently avoids
even the slightest insinuation of 81
waist. What waistlines her collec-
ton include are exaggeratedlyU
low. The sports clothes and street
dresses of Philippe ct CASTOR ard
straight and tubular-there is mol
faint indication of a waistline
The straight Renee silhouette has||
a flaring line at the hem and 81
often quite devoid of any iaden
tation at the waist.
The Patou line is low and ac
cented both in front and back
principally by means of belti
which are of the same material as
the dress. The Oriental modelg|
of Lanvin adhere religiously I'd
the straight silhouette and the ex
tremely low waist, introducing al
occasional gathered flounce Of
apron. The two Madeleines, all
ways liberal in their interpreted
tions of the mode, show both hig
and low line, but the long waist
are a decided majority. The higl
line is featured only on bolero eff
fects.
Other notable partisans of til
long, low waist are Doeuillet, Dire
coll and Doucet, the last emphasiz
ing the fact by drawing the lin
tightly below the hips and the
causing it to flare toward the bo
tom.
From all of which it is evider
that the waistline is entirely
matter for individual taste ar
that the choice should be governe
by the figure of the wearer. o
only two issues is Fashion still dos
matic-the waistline when pressr
should be distinctly more marke
at the front and either inyisib
or nearly so in the back-and
must never, never rise or descei
to its normal sphere.
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1924-03-16

featur3 widely divergent shapes.
ClocA4 toque, Directoire and pic
TURF Nat all appear in this assem-
blage.
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1924-03-16
Surpliee Closing Shown on
Tailored Street Dresses

The most conspicuous note in
the collection of Patou in his war;
iegated use of pleats. These are
used in every conceivable manner
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1924-03-16
Silhouette Is Simple, but Dress
Details Intricate and Involving
Cascading Panels, Tab Trimmings, Dainty
Tucks and Collars and Cuffs of En-
broidered Organdie Employed
by Leading Couturiers

on one side while the other side is
high, forming a bateau neckline.
Just below the left shoulder, on
the plain portion of the bodice, is
a flower motif embroidered ir
blue. The dress is developed in
wood brown crepe de chine.
Plaid taffeta has been recur-
rent theme in every important
Paris showing and it is an en-
phatic favorite with Berthe, who
until recently was The head design
err for the house of Cheruit. One
of her gowns, developed in the
fabric, is pictured at the center Of
the page. 1t combines harmonic
ing shades of brown with plain
taffeta in the same brown as the
ground Of the plaid. The plain
taffeta is only shown in the short
skirt. The two-tiered flounce is
circular in cut across the front
only and hangs quite straight at
the back. Heading the flounce,
at very low waistline, is broad
crushed girdle of the plaid which
finishes in a large butterfly bow.
This, like all the models shown by
Berthe, is extremely short and is
abbreviated to fifteen inches from
the floor.
Pleats Pervade Every Type of
Costume
Pleats are the quintessence of
the current mode. Their vogue is
not confined to any particular
type of costume. Morning, after
noon and evening, for mannish
tailleurs or frilly feminine frocks, |
pleating is ever en- regle. The |
entire skirt of a dress by Miller
Soeurs, illustrated on the second |
figure at the bottom of the page,
consists of only three flounces,
each of which is infinitely pleated.
A graceful finale is lent to this
model of green crepe de chine
through the further employment
of pleating to edge the Bertha col
lar and the turnback cuffs.
The evening mode is less subject
to the structures of fashion than
any other type of costume. Here
it is that the designer may shake
loose every restraint ard soar
into the realms of fantasy. There
are no don'ts-color, cut and cloth
know no master save only the ca
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1924-03-16
Apron Motif Remains Popular,
Though With Many Variations
The Flounce Cut Circular in Front and
Straight in Back Another Interesting
Detail-It May Be Pointed or
Cascade at One Side.

The artistic manipulation Of
the involved details of dress has
entirely dissipated the early dis
appointment over the unchanged
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1924-03-16

The judgement Of Paris for the
approaching spring is a curious
paradox of accord and discord.
Not even the most radical among
the designers dares vary the ac-
cepted silhouette, yet none is too
conservative to introduce the most
bizarre and original effects for the
decorative note. The models on
today's page, sketched especially
for this paper, were selected with
the particular view of illustrating
the fundamental concepts of the
new mode. They are all Paris de-
signers, the originators of some Of
TIE foremost French couturiers.
1t will be noticed that the slen-
Ger silhouette is an invariable
note. Despite the many fervid pre-
sictions of q reaction away from
the close-fitting outline, the Grun-
dy's are doomed to another season
of disappointment. Indeed, if any
change at all is visible to fashions
cognosceni it is in the direction
of an even more acutely empha-
sized narowness.
The Berthe model, at the lower
left corner eff the page, would be
particularly difficult for any but
the most wispish figure. The dress
is extremely straight and fits the
figure closely. To break the line
the bodice shows a deep bib-ike
section formed by narrow folds of !
the material which give this out
line. Down the center Of the mo-
tiff and down the left side, extend
ing from the under arm to the
deep marabou border, are buttons
of black satin. The marabou is
black and the fabric of the gown
itself is black moussel:ne de sole.
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1924-03-16
A Tab Trimming Combined
With Tiny Pin Tucks.

Tab trimming is an effective
decorative note for the skirts of
afternoon dresses. The model from
Agnes, sketched on the second
figure at the top of the page, COM
Dimes this fantasy with fine pin
tucks. The tab trimming is con-
fined entirely to the skirt while
the tucks extend up into the
bodice, both front and back, in
three unbroken lines. This frocl;
also shows a deep jabot-like revere
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1924-03-16
Flounees in Many Varieties Are
Featured BY Pstou

The shaped flounce, either
pleated, circular, pointed or cas-
cading, is also extensively featur-
ed by Patou. For his afternoon
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1924-04-14
JULIA MARLOWE
UNABLE TO
APPEAR

Miss Julia Marlowe will not be
able to appear with E. H. Sothern
at Polls Theater this week. A short
time ago Miss Marlowe sustained
an injury while acting in Pitts
ourgh. but she has not sufficient.
~ recovered to fill her engage.
ment here. AS she considers this
city her home, her disappoint-
ment Is keen, but her doctors will
not consent to her appearing on
the stage for several weeks to
come.
Mr.. Sothern states: money al.
ready paid for seats will, of course,
be refunded If 80 desired, but we
would much prefer the pleasure
or the attendance Of those who
were to honor us with their pres
ence. In the event that the per-
formances do not meet with their
entire approval, money will be
returned to all who request it at
the end of the plays. Miss Le-
more Chippendale, who acts Viola
in Twelfth Night Katharine in
The Tanning Of the Shrew,' and
Portta in The Merchant of Ven
ice has met with great favor in
these roles which she has acted on
SO many occasions, while Miss
Florence FAR has played Juliet
with distinguished success since
Miss Marlowe unfortunately was
forced to rest"
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1924-04-14
PARAMOUNT SEES
BIGGEST YEAR
AHEAD

Within two months eighteen
production units will be at work
in the two Paramount studios.
Thirteen will be engaged at the
Lasky Studio, in Hollywood, and
five ut the Long Island plant.
Early in the summer three more
units will be added at the Long
Island studio. Announcement to
this effect has just been made by
Jesse L. Lasky, who has returned
to the Coast after spending two
months consulting Adolph Zukor,
president, and Sidney r. Kent,
general manager Of distribution
Of the Famous Players asky Cor.
poration!
eve are launching this drive,
entirely unprecedented in the his.
tory Of Famous Players-Lasky
Corporation" Mr.. Lasky stated.
"in order properly to prepare for
what we confidently believe will
be the greatest season ever en-.
joyed by the motion picture indus
try.
I'VE have marshalled new all-
thors and scenario writer's and
additional supporting artists, and
! may say that our good fortune
In obtaining all these has exceeded
even our expectations"
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1924-04-14
1.-THE BREAKING POINT
PEACH OF A FILM

AS a popular novel, 1.-The Break
ing Point" by Mary Roberts
Rinehart, was worthy of it's able
author. AS play for the speak
ing stage it was perfectly terri
BILE. Now 1.-THE Breaking Point"
comes as a movie to Loew's Co
lumbia. A brilliant cast and COM
petent direction have restored to
the story its original vitality and
power.
1.-THE Breaking Point" shows
evidence of having suffered in the
cutting room, so that there are
few gaps which, however, fail
to mar the general attractiveness
of the picture.
Herbert Brenon directed the
piece and has stamped it with
his strong individuality. The most
important news of 1.-THE Breaking
Point" is that Matt Moore, IN a
most difficult role, displays ability
and sublety of expression which
hitherto, in his extensive screen
career, has lain dormant. 1t is
difficult even to recognize him.
Brenon's famous hard luck has
nourished his genius, it seems,
and he brings to, the picture at
the Columbia all his old-time skill
at plotting and character building.
Assisting Matt Moore are Patsy
Ruth Miller, Nita NaIdi, George
Fawcett, John Merkel, Cyril Ring,
Charles A. Stevenson and Theo-
dore Won Eltz. They know their
business. Intelligent cooperation
with their director helped in pull
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1924-04-14

; ing the picture over some stretches
where 1t might have bored.
The story concerns a young
doctor, engaged to the prettiest
girl in suburb of New York,
who discovers that he lost his
memory and his real identity sew
eral years before. Behind the
veil of amnesia is hidden a crime
he has forgotten and another
woman, whom he has also forgot
ten. A shock returns him to his
former self anu suspense is car
ried on white heat to a great
climax.
The feature IS supplemented by
"Shanghaied Lovers" a Sennett
comedy; the International News
Reel, Fun From the Press" and
the overture, selections from
Princess Pat" by the theater
orchestra.
For the first time since the dis
covery of the mysterious Carlsbad
Caverns sixty miles from Carls-
bad, N. M, these vast subter-
ranean chambers have been fully
explored by 4 United States Gov
eminent expedition and an Inter
national News Reel camera has
recorded all of their awe-inspiring
grandeur and magnificence. These
striking pictures of this huge
fairyland, in parts two miles be-
meath the surface of the earth,
are contained exclusively in the
International News Reel being
shown this week,
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1924-04-14
TIVOLI'S NEW PROGRAM
SUSTAINS QUALITY

collector to settle q long standing
and oft-disputed account that
amounts to only twenty-five dol
lars and eleven cents, the parties
to which are the best Of friends
after dinner but bitter enemies
during business hours. The treat.
ment at times Strays away from
the straight farce and verges on
the downright slapstick school,
but on the whole, and counting
in the very funny subtitle work,
the film passes muster as good
entertainment, with Washburn
nearly being forced to concede
honors to Horton.
The supplementaries come in
Tor their share of praise, too.
The house orchestra under Bailey
Alart renders Nicolais tuneful
Merry Wives of Windsor" over
ture with a verve and dash that
bespeaks longer training together
than the short week they've ac-
tually had. Their elevator doesn't
seem to bother them a bit, either.
Warnings Pennsylvanians, at
tended by sweet young thing in
a smile and an abbreviated cos
tune, rip off some more jazz
harmony to the thunderous ap-
plause Of everyone present.
Charles Gallagher, in character,
displays a baritone Of feeling,
beauty and power in old planta-
ton melodies. And there's an
Aesop FabA', newsreeI and scenic
film. The only feature that isn't
up to snuff is the somewhat
ragged performance Of the ballet.
-R. L. 3.
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1924-04-14
CENTRAL
MAN From BrOdnev's."

The Man From Brodney's,"
chief feature the first four days
or this week at CrandalI's Cen.
trail, begins with scenes that are
picturesque but placid, only to end
IN a cyclone Of action that is
swift and overpowering. The title
or the picture is derived from the
young man sent from Brodney's
In London to prevent a rebellion OF
the natives on a dark skinned
island in the Far East.
In the title role, j. Warren Ker-
r1gan gives one Of his most i'm.
pressive performances. When it
comes to the fight scenes, Kerri-
gan Is as good as a regiment
against the natives.
The comedy is Al Christie's
Ride 'em Cowboy" in which
Bobby Vernon goes adventuring
in the West.
The bill also embraces added
camera subjects of abbreviated
length and is lent melodious
charm by w. e. Thompson and
Miss Irene Juno at the pipe
organ,
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1924-04-14

They certainly are going after
things with an eye to getting the
business out at Crandalls new
Tivon. This weeks program il
about as diversified and well-bal-
anced q thing as has ever been
presented by a Washington
cinema emporium.
The feature photoplay is q
Grandfather release entitled "Try
and Get It." Grandfather Is the
'recently-formed film combine re-
leasing through Hodkinson that
has signed several silversheet
luminaries to appear in forthcom.
Ing productions, and this "Try
and Get It." as a sample, is well
illustrative of their policy. Bryant
Washburn has the chief male
role, with Billie Dove playing
opposite. But the support is Of
big.league caliber as well. Prom
inent is Edward Everett Horton,
well-beloved and easily-recalled
for his playing Of "Ruggles" In
James CRUCES delightful "Ruggles
Of Red Cap" and his enactment
Of the leading part in that other
Cruze opus, ITO the Ladies'"
Besides Horton there is to be
found Lionel Belmore, Joseph Kill
gour, a real old-timer from away
back, Rose Dione and Carl Stock
dale.
The tale is adapted from 1.-THE
Ring-Tailed Galliwampus." which
someone or other wrote for the
Saturday Evening Post. It's q
rib-tickling bit Of farce concern.
ing the efforts Of a would-be bill
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1924-04-14
CHRONICLE
SCREENED In
BEAUTY SPOT

The stately gardens Of Middle.
ton place, near Charleston. s. c.,
were placed at the disposal Of
Yale University Press in connec-
ton with the filming Of ''The
Gateway to the West" the
CHRONICLES of America" picture
now being shown at the Rialto
Theater. \
Dhe exquisite spot, with ~its
carefully trimmed hedges and
&rtistically arranged walks, is
said to be the reproduction, on
O smaller scale, Of the famous
Versailles gardens, near Paris.
Middleton place is the estate OF
]. j. Pringle Smith.
It Is here, in the Yale Press
photoplay that young George
Washington meets Governor Din
widdie Of Virginia who commits
sions him a major and sends him
to protest the French occupation
Of Virginia territory. The vision
Of rich colonial costumes and
courtly manners photographed
against the beautiful vista Of
landscape and river, lie said to
be extremely effective and adds
Q wonderful touch to the scenic
beauty of the picture.
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1924-04-14
miracle" FOLK
PORTRAITS ON
VIEW HERE

The pencil portraits of the out.
standing figures Of "The Miracle"
drawn by the Duchess of Rut.
land, will leave the Duveen Gal.
leries in New York today for con.
tinued exhibition at the Vandyck
Galleries in Washington.
The Miracle" drawings are:
Lady Diana Manners as the Nun
in THE Miracle" and as the
Madonna, as the Nun in the
revolution scene. Schuyler Ladd
as the Prince, Werner Krauss as
the Piper, Rudolf Schildkraut as
the Emperor, Arville Caldwell as
the knight, and Rosamond Pin
chot as the Nun.
In addition, there are portraits
Of Morris Gest, producer of THE
Miracle" Rudolf Kommer, assist
ant to Max Reinhardt, the wizard
Of "The Miracle" and Bella
Cohen. special writer of the press
staff of 1.-The Miracle"
Other drawings are those Of
the Prince of Wales, Lady Diana
in Persian cap and in her we'd
ding veil, Constance Binney. Mary
Pickford. Beatrice Lille, Jeanne
Eagels. Gertrude Lawrence, Laur-
cite Taylor, Mrs. Voss and Miss
Olga Lynn.