Photoplay (Jan-Jun 1920)

Photoplay Magazine 65 Now, this matter is not of much importance to the woman who can afford to engage the services of a great stylist to dress her. But most of you girls can't do this — I certainly couldn't during the first years I was in motion picture work. A great number of my dresses during that period I made myself. And even today, when I am in a position to spend quite a bit of money on my wardrobe, I frequently design my own gowns, and then find someone who can grasp my ideas and translate them into clothes. Do you mind if I say a very serious word right here? A word meant for you girls who "can't sew a stitch." Sometimes you seem to be proud of it. I wonder why? I had just as soon be proud of a cross eye or any other infirmity. Do you know, you girls who can't — or won't — sew, that this helplessness leaves you at the mercy of the shopkeeper or the dressmaker? You have to take what they give you, not what you want. A pretty little party frock costs you from $30 to $40 and up— mostly up. You could make the same thing yourself for $10 or $15. More than that, you would have the joy of creating something — and you'd find your hands were good for something besides doing up your hair. Every time I hear someone adding up the great natural resources of this country I wish with all my heart we could include women in the list. Of course we could add some women, but not the big majority, and that worries me. And I wish the people who make up the qualification list on marriage licenses would add "Can you cook and sew?" to the questions the girl has to answer — and not issue a license until she could prove her claim. My stars! Think of all the bachelors who would be rushing girls to the altar if they had any reasonable hope of obtaining an asset instead of a liability. But, as I was saying— About this matter of fashions! Today is above all others the day of the individual, the time when every discern ing woman knows that she can draw on any period of style to enhance her good looks — that her individuality but needs the proper medium of dress to give it expression. For fashion is the fruit of history, the fruit of romance. Today a costume artist may take an idea for a blouse from an ancient portrait, and the drape of a skirt from an Indian sarong. He may portray a Spanish cavalier in a wrap that has its fulness thrown jauntily over one shoulder, or he may embroider a dress in Chinese patterns. Why is it that we today are breaking away from uniformity in style and seeking to take the best from history and tradition that we may apply it to modern uses? The World War is one reason. Most of tfife nations that were fighting with the Allies sent representatives to France. And the French style creators borrowed inspiration from the national dress of the peoples who fought shoulder to shoulder with their own men. Jean Patou, great soldier as he is great stylist, came back to Paris from the trenches last year and brought with him the Algerian inspiration. The bright colored embroideries of this season, the deep sashes and "harem" skirts we are seeing everywhere today, are the result of Patou's genius. The cavalry inspired Agnes to feature the redingote dress. Now, redingote means "riding coat" and was popular about 1800. In its modern development the silhouette is buttoned from throat to hem and shows an underskirt of one material worn under a long coat of a contrasting fabric. Some of the other Paris creators studied the portraits of Velasquez last year, and today we have the basque as a result. Remember this when you see one of those quaint little taffeta dresses with the long tight basque and full skirt. If you have clever fingers you can make one for yourself this summer. They are reproductions of the costumes worn by the Spanish Infanta when Velasquez painted her. In suits the French creators went back this year to the (Cofitinued on page 112)