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^ 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.