Evening star., 1933-08-13

NV No woman should have only
one type of clothes, for no
woman has only a single
mood. I don't believe in women dress
ing in, say, a tailored mode or feml-
nine one. The reason, of course, is
that no one is always in the mood for
tailored clothes. Every wardrobe
should have clothes of many types,
some to express ones practical. business
like hours; some to express great dig
nifty others for kind of gay reckless
ness. There should be costumes for
every possible mood in the really sue
cessful wardrobe.
Clothes influence us tremendously.
Let woman put on rich. stately eve
ming gown and she at once takes on
somthing of the character OF the
gown. Or suppose she is in smart
tailleur-her mood is entirely different.
She is brisk, efficient, ready for any
emergency. Or let her slip on softly
draped gown for afternoon wear. She
becomes delightfully."- feminine, full OF
the mystery and charm that so intrigue
men.
The wise woman of today has learned
something that her grandmother never
knew-that she may change her per-
sonality with her gowns. Where her
Va
thing, the soft feminine costume. to-
days woman goes from one personality
to another with no more trouble than
changing her costume.
*
A CTRESSES are very well aware OF
"A this power of clothes over the per-
sonality, not only as they affect the OBJ
server, but as they affect the individual.
Many actresses come to me to be cos
TUNED. The woman who is to play a
tragedy must wear costumes that en-
hance the role. Her audience, on seeing
her, must be aware at once of her per-
sonality. But she, too, must feel in the
mood for the tragedy. If her costume
is right she is put into that mood the
moment she slips into her gown.
Perhaps it is a sophisticated comedy,
such as is played by Mile. Delubac,
who interprets a new work by Sacha
Guitry Her gown must express at once
the ultra-s sophisticated woman OF the
world 1t must have dash, sparkle, yet
at the same time it must be suave, ele-
CANT, with an undercurrent OF wit.
When I designed this gown I tried to
put myself into that mood and to feel
the type of gown that would suggest
the play. And it seemed to me that
nothing quite so well interpreted the
mood of this character as lacquered
black satin. The material itself went
far in expressing the feeling OF the
scene, but to carry it out completely ]
designed a gown on long nodded lines
that clung to the body smoothly and
elegantly BY creating most unusual
decolletage. I still further carried out
the idea of sophistication.
The gown is a huge success. 1t puts
the audience into the spirit OF the play
the moment Mile. Delubac comes onto
the stage. They appreciate the part
she is to play, and are at once sympa..
thetic It is unthinkable that she should
wear a light, frilly frock, suitable to an
ingenue.
Yet, how many women, in their day
to-day costumes, do just that. They
take no account of their own moods and
personalities, and wear clothes only for
their practicability. An afternoon gown
is just an afternoon gown to them IN
stead of softly feminine thing, rich in
mysterious charm. Their evening cos
tunes may be beautiful, but are quite
unrelated to their moods.
X X X
T WISH that every woman would
think more of her own temperament
when she chooses her costumes. If she
has moods of great gayety let her dress
for them. If sometimes she Is silent
and mysterious let her select gowns that
make Of her charming enigma. Even