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One of the New
Cylinder Gowns
—'‘lstar-Sahar,”
Showing the
New Note of
Fullness in
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ey Al S EEN
The Cylinder
Gown with
Its Harmonious
Bodice. In This
Gown Lady
Duff-Gordon
Has Been
Inspired by the
Ancient Glories
of Babylon Both
in the Silhouette
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Marvelous
Colorings
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ADY DUFF-GORDON. the
Lfamous “Lucile” of London,
and foremost creator of fashions
i the world, writes each week the
fashion article for this newspaper, pre
senting all that is newest and best in
styles for well-dressed women.
Lady Duff-Gordon’s Pans estab
lishment brings her into close touch
with that centre of fashion.
Lady Duff-Gordon's American es
tablishments are at Nos. 37 and 39
West Fifty-seventh street, New York,
and No. 1400 Lake Shore Drive,
Chicago.
“
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L 1 i
L
Bl e
T
YO O
Ao il T
oy
P s I
. «gr .
L B
By Lady Duff-Gordon
(“Lucile”)
O-DAY I am showing you gowns built upon the corner
stone of art, long recognized and only occasionally
questioned, that the curve is the line of beauty. They
so drape the figure that it is of cylindrical form.
The long, slender cylinder is a thing of intrinsic beauty.
The slim, fragile reed is often found in that form. Some of
the famous columns supporting what were the most beautiful
of ancient temples were derived from the reed model. The
woman who plans her wardrobe upon such basis 18 sure tb
have garments that are intrinsically beautiful.
The large right hand figure which you see 1 have given the
name, “Istar-Sahar.” The stateliness of the model and the
long, straight lines of the robe convey, I hope, something of
my inspiration. There was in my mind a word picture of
Istar, or Ishtar, the goddess worshipped by the Babylonians
and Assyrians. The splendor of the material used for the
narrow skirt deepens the impression I wished to convey of
the magnificence of the East. This tea robe is composed of
a skirt of Canton blue Chinese brocade. Upon the rich blue
background are wrought flowers in black and silver. Around
the hip-line of the sheath-like skirt is a wide border of skunk
fur. Above the skunk border is a glimpse of a sapphire girdle.
A long, close gathered bodice of cloth of silver is finished at
the bust line by a band of violet metallic ribbon. Qv tne
bodice is worn a tunic of lead colored gauze. At nou: 2na
wrists this veil-like tunic is finished by sapphire and silver
bands. From the sleeves and neck, at the front, hang s'.ver
tassels. Flesh-colored satin slippers complete this gown
intime.
The small, upper left hand figure. shows the ss re gown
with the addition of its own half tunic or smock. Again
Canton black and silver brocade with a background of Canton
blue is employed in the building. The tunic is faced with
violet satin. A broad band of skunk fur finishes the turic,
In the lower left hand of the page you see the delicate tea
coat to which 1 fit the light phrase, “Tu M'Amuse” (you
amuse me). Smoke colored gauze is used for the garment
worn over a slip of shell pink charmeuse. The full, straight,
short-sleeved tunic that has kinship in line to a Mandarin
coat, or a painter's long smock, is heavily embroidered in sil
ver. It is piped at cuffs and hem with rose colored silk and
black velvet, Over the slip is worn a girdle of mulberry rib
bon. A corsage bouquet of flowers in gay Bulgarian colors
adds to the garment that is al once emphemeral and sump
tuous.