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Gay-colored Gowns for April
The wardrobes of the screen actresses are full of colorful suggestions for the first mild days.
By Betty Brown
The springtime costumes just below include, from left to right, a flame-colored georgette gown worn by Alice Joyce, a tan tweed coat-dress owned by Carol Dempster, a green poplin dress also worn by Miss Joyce, and a white-crape, red-satin gown brought from Paris by Natacha Rambova.
EW frocks hold the first and most important place when the snows have finally melted and our imaginations begin to play with the idea that spring at last is with us.
The first fashions of spring, to my mind, hold an even greater fascination than the richer and more luxurious ones of the fall season. Most of us have been long since "fed up" with winter, and are enjoying to the full the general inconsequence and relaxation of the first warm days. This feeling seems this year more than ever to be embodied in the smart frocks and frills, sport clothes, street suits, and Easter bonnets that one sees on every hand. Certainly the colorings of these have never been gayer than they are this year — suggestive of growing leaves and flowers, especially leaves, for green in every imaginable shade seems to be the favorite of the moment, from the tender yellow-green of the daffodil leaf to the rich, hunter's green, more suggestive of holly leaves than of those of spring flowers. However, you may wear almost any shade this season and still be quite in the fashion, for no one color seems to hold the popular fancy to the exclusion of all others — rose is quite as popular as green, and so are pearl pink, light grays, and soft blues. Thus far this season I have seen no radical change in silhouettes. The short skirt, with flaring godets and pleatings, still holds its own ; perhaps, however, it boasts a bit more of fullness than heretofore, and that fullness seems to start a bit nearer the waistline. Most sleeves are long, even on the flimsiest of spring frocks, and the middy neckline, with its convertible collar that can be worn either high or low, is almost universal.
Some of the smartest gowns of the season were brought back from Paris by Natacha Rambova for wear in her picture, "When Love Grows Cold." This is not at all surprising when you consider the exquisite taste displayed in other lines by Miss Rambova, or Mrs. Valentino, as she prefers to be called. And no one can doubt that her artistry is quite as great in the matter of costuming as in that of screen settings.
Two of her best costumes are sketched here. The first, The coat at the left, embroidered at the right of the center group on this page, is of in bright-colored worsted, is a sport heavv white crape in combination with red satin, and model worn by Norma Shearer. the only trimming is the heavy gold braiding which