Newspaper Page Text
^ c rv cl p | p'■ j i
Fain Foiret In.
F ASHION!
At least
because
which I have
M.
All Photographs
on This Page
Copyrighted
by and
Published
by Permission
of
HARPER’S
BAZAR
- ’ 'S
Poiret Arranging a Jet Necklace So That It Falls Just Within the Lines He Wishes. It Is in These
Little Touches That M. Poiret Excell*. The Gown Is the Mourning Dress Shown on the Right.
A Silk Crepe with All the Radiant
Coloring of the Orient Has Been
Used by Poiret in This Gown. Note
the New Muff Sleeves Which Like
the Edges of the Garment Are
Finshed with Real White Skunk
Fur.
By PAUL POIRET.
In the Current December Num
ber of HARPER’S BAZAR.
for a considerable
period.
Individuality Is
the Essentia!.
A woman is free
nowadays to dress as
she chooses, yet nine
times out of ten she
does not avail her
self of the privilege.
Why does she lack
the courage to make
herself attractive,
when on the* other
Hand she is quite
willing to make her
self ridiculous by
following unbecoming styles in dress?
That is the curious thing. A woman
considers herself clever if she imi
lutes other women, even to the point
of absurdity, and is fearful of at-
Iracting too much attention if -he
dares to be original.
I dislike fashions. They make all
women look alike, and they reduce
to one standard something which
should be infinitely varied, distinctive
and attractive. Routine is never
agreeable. Individuality is charming.
1 would have a woman dye her hair
purple, if purple hair was becoming
to lier. At least, I should admire her
courage.
P AUL POIRET, one of (he most original and certainly the
most talked about of the famous French dressmakers,
is writing a series of exclusive articles in HARPER’S
BAZAR. The articles are illustrated by photographs of his
own charming and odd creations.
In the current number of HARPER’S BAZAR Mr. Poiret
has a novel and interesting little essay upon the logic of dress.
So unusual is the viewpoint that by permission of HARPER’S
BAZAR the article and some of the fascinating photographs
l hat illustrate it are reproduced on this page.
I would have women wear what
ever is suitable to them, consistent
with their social position and with
the occasion. Those three things are
the only ones that should be con
sidered In the choice of a dress, and
they should be adhered to rigorously.
For example, I consider it a crime
for a woman to wear conspicuous
jewels in the morning.
Build a Gown After
a Logical Design.
Dress is an art—an art to be
studied as conscientiously as any
other art; and I would ha ire the
adept in it, exemplify her art by
dressing consistently with conditions
and with her own state of mind. In
other words, sad colors typify grief
aiM brilliant hues indicate Joy.
Clothes should be chosen according
to their suitability—the old principle
of the Romans—decorum. But they
should be worn and made according
to one other principle—logic.
In my work I have always tried to
be logical. I conceive an idea, or get
a suggestion which I think will work
out well, and I carry it out to a
logical conclusion. People tell me
I hat the gowns I create-are entirely
^different from the designs of other
makers. If they are different it is
because they are logical. They are
designed and executed without com
promise with any fad or fashion.
That is one reason why my dresses
are unusual and in advance of the
prevailing mode. The so-called-harem
skirt, for example, was developed to
its logical conclusion. It proved
somewhat of a revolution when first
presented, but it is now approved.
The logic in a design should be
completed. A dress showing the
panier effect is illogical with a
Grecian border of a divided skirt. If
you want a panier, then see to it that
the rest of the dress is carried out
accordingly.
If your gown is to be built on
Oriental lines, then have no stiff
laces or Medici collars to upset the
fundamental scheme. If the Tanagra
is your model, then see that your
draperies are exactly like those of the
original statuettes. Do not start out
with straight lines in your design
and permit them to develop into bulgy
curves. Build a gown as logically as
an architect plans a church. Every
garment, in fact, should be architec
turally designed.
Draperies, Too, Should
Have Meaning.
I abhor on a dress buttons that are
not meant to button. A button is not
an ornament—it is an object of
utility. If it does not serve any pur
pose then do not put it on. A button
should button, or be placed so that it
might button, but placed haphazard
on a dress it spoils the logic and
consequently the ensemble.
Draperies are beautiful when logic
ally handled; otherwise they are
file Back View of the Black
and White Mourning Cos
tume Showing the Skilful
Drapng of the Chiffon Into
the Black Velvet Panel of the
Wrap. The Arrangement of
the Draping Carries Out the
Rides Laid Down by M.
Poiret in His Argument on
the Logic of Dress.
The Etiquette of Cards and Calls-
By Mrs. Frank Learned,
Author of “The Etiquette of New
York To-day.”
Thai appalling word!
to me it is appalling
it stands for that
rebelled against c\/.
since 1 began designing, years ago. I
never could understand why fashion
is supposed to convey the idea of
whimsicality and amusement. To m.v
mind, it means uniformity and
tediousness. Fashion to me implies
lack of taste, because a tiling arbi
trarily set up as a model for every
body to follow is an insult to one’s
intelligence and individuality. Ever
since 1 can remember I have bated
routine, and I have been opposed to
this artificial and absurd generaliza
tion which has reigned in women's
clothes.
Of course there was a reason for ii
in olden times when sovereigns of a
country set the fashions and the
mechanism for weaving textiles was
imperfect. It was then logical that
women should follow the fashion, for
the lady in waiting copied the dress
of her Queen, as the most delicate of
compliments. In turn, the lady in
waiting was copied, and so it spread
from one circle to another. At the
same time, the manufacturers pro
dueed materials required for such a
costume. And as it took a long time
to readjust a loom to* a different de
sign or fabric, the fashion prevailed
10
-CUSTOM regt
cards and
ing has a
and the rules sh
which regulate
their use.
These bits ot
quired to do <li
sions. I
'or cent
uriei
the ac<
credited
re j
their ow
rners.
The]
of disch
arg ing
the endl
srehs
t ween
friend*
am
may be
truly
-aid
united.
With©!
nt tf
bits ot
paste
boar
laics the matter o!
calls. Social visit
l established code,
ould be understood
visiting cards and
pasteboard are re-
ity on many occa
i2y have been
eiitatives oi
e ' the mean#
ligations, and
. •
icquaintances
keep society
useful little
BO(*il debts
could not be paid, cards are
often reminders to acquaintance
our very existence as well as a
toward renewing friendships or
larging a circle of friends.
Cards are often expressions
kindliness, sympathy, condoienc
congratulation. In fact, there are
few things more than the
etiquette of earn and fails.
Card-leaving .- neee--.ar> after
having received invaatun* to a
wedding breakfa-t, a r, lunch
eon, card party ,■ • f-atre party.
The reason is* tc ; . . on -, of this
sort are persona . are not in
vltations of a gen r v. i - .re to e» n
oral affairs. , -. t~.rs.ii
mark of court* - n < i npll nent.
Church wedding ■*•*■ large re
ceptions may .*■ e.a- ,f as gen
eral affairs. A chure: for -tance,
is supposed to be pie enough to
bold a very large number At per
sons and general acquaintancet bid
den to a wedding. Tv- may be
present or not, as they please.
Tile proper acknowledgment of
the invitation is to send cards on or
after the day of the event to those
in whose name the invitation was
iss'ued and to the newly-married
pair. If in doubt as to what may
be the new address of the bride,
cards are sent to the home of her
parents. These obvious points are.
explained herein because they are
frequently a problem to the inex
perienced. The same rule applies
to sending cards in acknowledgment
of marriage announcements.
On the occasion ot a tea a hostess
sends cards to her general list of
friends. Thus she notifies them that
she w ill be at home on a certain aft
ernoon. They are not obliged to go.
If they go. they leave cards so tha*
the hostess may be reminded of
their presence and may give them
credit for coming. If they cannot
go, cards are sent on the day of the
tea. and duty has been fulfilled. I f
is not expected that a pall should
be made afterward.
If a lady lias a day tor being at
home, her friends should try to call
at that time.
A card is a reminder of one's call
and address, and it is left whether
the hostess is at Yiome or not. It
may be laid down on the ball table
vhen entering or leaving a house
or may be laid down unobtrusively
> . any convenient table.
\\ omen attend to the duties of
- ard-leaving, men being considered
■ xempt from making calls when
they have wives or mothers to leave
their cards, but of course a young
man must call on bis hostess after a
dinner invitation. It is to be re
gretted that some young men are
Copyright, 1913
not sufficiently punctilious in mak
ing prompt acknowledgment of
courtesies and hospitality.
The general rule to remember is
that a married woman leaves her
husband’s cards with lier own when
making a formal call, whether it be
the first call of the season or a cal!
as an indebtedness after an invita
tion. She leaves one of her cards
for each lady in a family and one
each of her husband’s cards for each
lady and one for the man of the
household. If she has a son she
may leave two of his cards. If the
lady on whom she is calling is at.
home she places the cards of her
husband and son on the hall table
and sends her own card by the
servant. In future calls during the
year it is not required that she
should leave lier husband’s cards,
unless, as lias been stated, in ac
knowledgment of invitations. Her
son assumes his own obligations in
future.
The old custom has been revived
of having a card “Mr. and Mrs.”
This simplifies matters generally
as a woman leaves one of these
cards and one of her husband’s
cards when making a call.
During the first year or two of a
girl’s entrance in society her name
is beneath the mother’s name on a
card;
Mrs. Henry Mason.
Miss Mason.
If there are two or more grown
daughters, the custom is to have
“The Misses Mason” under the
mother’s name. If a younger
daughter is making her entrance to
society her name may be beneadi
the others, “Miss Winifred Mason.”
, by the Star Company. Great Britain
Young girls have their cards sepa
rately after a year or two in society
and are expected to assume their
obligations about making calls, al
though a daughter should accom
pany her mother in making first
calls or ceremonious calls. A girl
who has been in society for a few
years may relieve her mother of a
certain amount of formal card-leav
ing.
The rule is that first calls should
be returned within a week, although
some persons claim that within a
fortnight is allowable. When you
have accepted an invitation from a
new acquaintance a call must be
made within a week after the enter
tainment.
The hours for calling are between
3 and 6 o’clock in the afternoon. A
formal call does not exceed fifteen
or twenty minutes.
Cards of compliment or courtesy
save time and express a kindly re
membrance. For instance, a card
is sent with flowers, books, bonbons,
fruit. 8r any of the small gifts of
fered among friends. In acknowl
edging these attentions it is not
proper to seqd a card in return. A
note should be written.
Nothing may ever be written on a
visiting card but an informal mes
sage or invitation. It is not proper
to write an acceptance or a regret
on a card.
Cards of condolence or sympathy
are sent to friends in bereavement,
with the words “With deep sympa
thy” written across the top. Of
course, one should, if possible, call
and leave cards without asking to
see any one, but if this cannot be
done cards are sent by post.
Rights Reserved.
Are
An Original
Poiret
Model Made
for the
Russian
Ballet.
It Is
Developed
in Mahogany
Faille
with Yoke
Sleeves and
Belt of
Black Velvet.
Drapings
Gathered in a Fitted Band of
Black Velvet Embroidered in
Coral and Cold and Edged
with Skunk to Match
Scarf and Cuffs.
quite the opposite. They are ex
tremely difficult to handle unless
logic is kept in mind. A drapery
must come from somewhere and end
somewhere. I mean it must start,
logically, at the shoulder or the waist
line, and it must be caught at the
other' extremity by a buckle, a bit of
passementerie, or an ornament of
some kind. But the flow of the ma
terial must be in accordance with the
lines of the gown, and there must be
an apparent reason for its use. Some
times you see draperies that come
from one knows not where, caught
here and there, everywhere, one
knows not how; and instead of ad
miring the dress or feeling the pleas
ing effect of the ensemble, you won
der how the dress is jnp.de, how it.
was possible to make it hang together.
And when the woman who wears it
takes a step you tremble lest she dis
arrange a fold and ruin the garment.
To be ablt to move about in a dress
is logical. Nothing about drapery
should give the impression that it
hampers the wearer. Drapery should
fall naturally, and if walking dis
arranges the pleats, the material
ought to fall back into the logical
folds as soon as the wearer is in re
pose, leaving the impression that no
harm had been done.
Logic in a dress, to my mind,
stands for beauty. Decorum and
logic—these are the two things which
should govern a woman in the choice
of her dress. Fashions should be
ignored. A prevailing mode may
guide a woman—but nothing more—
for the really well-dressed woman
never follows it blindly.