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Vogue, April 1, 1918

Untitled fashion spread from Vogue, featuring Lucile gowns

(Thanks to Randy Bigham for this article)


It's like a rose-coloured dream come true--this gown of soft glimmering rose charmeuse and misty rose tulle, with a bodice that sparkles with rhinestones and pearls and ends in a twinkling pearl and rhinestone fringe. A scarf of rose colour tulle, embroidered with tiny imitation pearls and rhinestones and ending in silver tassels, veils the shoulders, and a gorgeous chain of big and little diamonds set in platinum and holding a shining cluster of diamonds, makes the costume still more sparklingly wonderful; photographs posed at the Hotel Vanderbilt. Clara Kimball Young in Lucile gown
Clara Kimball Young in Lucile gown We suspect that Lucile found it specially inspiring to make gowns for the new picture play, "The Reason Why," for it was written by her sister, Elinor Glyn, and produced and acted by Clara Kimball Young. At any rate, it was Lucile who found a bit of sunshine (less inpsired people call it yellow chiffon) and turned it into this afternoon gown. White chiffon makes the shawl collar and gilet on the straight simple bodice above the slightly draped skirt. The hat is a cloudy halo of black tulle with two graceful and feathery sweeps of paradise.
The photograph of this afternoon gown is a tale half-told, for at least half the charm is in the colouring. The gown is of shimmering mauve charmeuse with touches of French blue and a girdle of metal gauze in silver and pastel sades. Metal gauze bands trim the silver-tassled sleeves an are wound into the turban with a peacock cocarde. Clara Kimball Young in Lucile gown
Clara Kimball Young in Lucile gown However adventurous the plot of "The Reason Why," we are sure that all is well with the heroine when she wears this tea-gown of Oriental splendour, for who could help being won by a fair lady in so stately and gorgeous a blending of Chinese blue velvet, Chinese blue charmeuse and chiffon embroidered in a Chinese design of Oriental colouring? The short velvet coat, banded with kolinsky squirrel, is trimmed with peach colour satin, and emproidered bands of the satin and silver tassels, like those on the coat, edge the chiffon sleeves.


Over a foundation of flesh coloured charmeuse, Lucile has allowed her fancy to play along lines that are Florentine, but with a thought for the Orient in a combination of black and silver. A chemise of black chiffon slips on over the head and is draped at the side. The long loose sleeves, which are finished with silver tassels, form one piece across the front and back of the tea-gown. [Photograph, Baron de Meyer] Clara Kimball Young in Lucile gown

Not from this article, but related ...

Another view of the blue fur-trimmed tea gown from the film, which appeared in Photoplay, October, 1918, photographed by Baron de Meyer Another picture of the Lucile teagown

A sketch of the same tea gown Sketch of blue teagown
Click on thumbnails for larger view

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Last revised July 7, 2007