Evening star., 1933-02-05
ME opening night Of a play by
Noal Coward, with Lynn Fon-
tame, Alfred Lunt and Noel
Coward starring, is an event in

N-1L OpCllGlS IuSiII VI pIdy w
Noel Coward, with Lynn Fon-
tame, Alfred Lunt and Noel
L Coward starring, is an event in
fashions as well as N the
theater The New York opening
brought forth cre Of tie 5martest and
best dressed audiences seen in many a
season, with the police holding back
the throng that had gathered to watch
the fashionables arrive.
Miss Fontanne's clothes are triumphs
in designing, made with an understand
ing of the strategic Fart that dress
plays in the depicting of a character.
THERE is the costume that she wears
in the opening scene-a Paris
studio-whsre The blouse, OF very
simp ma5-ri2l, girgham. but OF bright
red checked with black. is 2s cclcr-ul
as the personality of its Wearer. There
IS dash in tie spirited bow of gingham
at the neckline, and nonchalance in the
simple lines of the BODY and the short
sleeves. To accent the blouse, a skirt
OF black silk crepe is worn With it, and
above it all is Miss Fontanne's extraor-
dinary hair dressing. reaching perfec-
ton in a style that looks almost as II
it might have been cut from a paper
pattern and lacquered to the head.
An easy grace Is seen in the SILK
dress of the second act, with its soft
jabot and collar of moussellne de sole.
But the idea of the coiorful personality
still Is there in the Orang # the
gown, the cafe-au-lait Of tee jabo-, and
the sharp accent Of the black pc .elt
leather shoes.
Skyscrapers and modernism in New
York setting, and dress that compc-
ments both the surroundings and Miss
Fontannes beauty and personality, are
seen in the last act. where, UP and
down the stairs, and through the. mod
ern door of a penthouse, she trails her
gown of silver lame and throws over 1t
a long cloak of pale gray velvet.
X x X x
WITH these clothes there is COM
w plete change of hairdressing still
very close to the head, and as shining
as a ravens wing, but bound around
with coronet braids.
For an intimate party of two, ard a
scratched-up metal which Noel Coward,
one of the diners, says Is not very
good, Miss Fontanne wears the best
costume of beautifully costumed play.
It is safron-yelloW negligee that
floats with every graceful movement OF
the wearer. and is made over founda-
ton of cleaning yellow satin. high
spot in the dress of feminine allure.
Grecian drapery gives opportunity for
folds Of the chiffon to float about. and
sleeves with huge puffs below the elbow
are at their best in this costume.
An orange hat is colorful note with
a suit of brown cloth featuring a fitted
cutaway Jacket and slim, straight skirt,
all very plain and tailored except for
the feminine collar Of cinnamon brown
fox matching the large muft that COM
p,etes the ensemble.
Muffs we're also important in the
well dressed audience. not OF the
wintry type like Miss Fontanne's, but
tiny ones used for evening bags: AS
one masculine first-nighter was heard
to remark to another between the
acts: Look at those little mufts. Tney
were picked before they we're ripe
which gives a fair idea of how they
appear to the masculine eye.
X X Il
CTRIPED taffeta jackets were smart
~ and new, as seen in the audience.
They were of the bellboy type which
fashion experts declare will be worn IN
white organdy and pique later on. Some
of those seen were in Roman stripes,
bright colors on black background.
While cog feathers were seen on a
very interesting black satin dress, the
trailing hemline was bordered in feath-
ers from roosters' tails dyed bright
scarlet, and spray Of them fell from
the left shoulder-quite barbaric IN
effect. but smart.
Satin was in high favor, being best
IN black or white. A prominent actress
ir the audience wore black satin, with
wide bands Of satin ribbon bound
around her head and tied in a bow like
4 little girls hair ribbon.