Evening star., 1933-04-23

ODERN life demands mOdern
M clothes. That expresses the
W. principle around which collec-
i tions are built Life today is
distinctly different than the
life of other epochs-it is more active,
more hurried, more intense. 1t is built
around new modes of transportation
the airplane, the automobile, the sub
way. 1t is as far removed from the life
Of the last century as if it were on an
other planet. And that is why I feel
that it is quite incongruOus to 60 to the
past for inspiration for modern cos
TUNES. We are not Victorians or citi-
zens Of the French Empire. Our whole
point of view, our whole manner Of life
is different. So our clothes should be
different. They should reflect the spirit
of our modern architecture, of cur
modern transportation.
realize, above all, that the woman
of today demands practically in her
costumes-not the dull, monotonouS
practically of the woman without
Imagination, but the same daring prac-
ticality that has made your American
skyscrapers. The very word chic which
we apply to modern costumes, is eX-
pressive of this new spirit in the world.
It is an indefinable word, so closely
allied to the life of today that we
understand it when we cannot give
q meaning to 1t. I cannot imagine
any one applying this expressive word
to a costume of the Second Empire. OF
to the rich, elegant gowns OF the nine
ties. 1t is word that can only be
applied to the cleverly designed cos
adaptation to the requirements of
modern life.
IN my opinion no costume can be
L considered chic that does not meet
the needs of everyday modern life. A
street gown, for instance, with trailing
draperies, or hampering fullness, could
not under any circumstances be called
chic. A dancing costume, with skirt
so swathed that the wearer was unable
to move freely, might be beautiful rs
painting on the wall is beautiful, but ]
would not call it chic. The reason
chic is closely allied to practically. In
other words, the designer of today must
place himself with many limitations.
He can't drape and wind fabrics about
a model as If she were an Egyptian
mummy without motion and life. He
must remember, every step of the way,
that the woman who is to wear his
creation has an active, intense life.
A real artist does not chafe at such
limitations. He welcomes them, for it
becomes real test of his powers to
create within the bounds that have been
placed for him. Let me illustrate: !
may be creating street costume. Good
taste dictates certain limitations. The
color must be subdued, the lines must
be such that the wearer can move
freely, there must be about the costume
simplicity in harmony with the sur
roundings. No woman wishes to be
conspicuous on the street Perhaps l
still further limit the costume by de-
Gliding that it shall be a dress ard
jacket.
Within those limitations I begin to
create. I study the various fabrics
that are before me. choose the one
that for its simplicity, its durability,
its subdued but beautiful coloring seems
most suitable for the street costume.
Then begin to build the design, keep
ing always in mind the limitations OF
a successful garment for the street.
T may decide that the skirt shall be
absolutely plain, with, however. sum-
cient width for easy movement, or
may create the effect of plainness by
placing an inverted pleat at the front.
When the wearer d ct rest, the eject
Is Of the utmost simplicity. When she