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FIRE IN THE EARTH
wise,
in their time. But they hardly compare in fashion importance with the
grand ladies of Europe or even with the wives of diplomatic
representatives at the state receptions. Rotogravure and women, editors
of one kind or another, or newspapers and magazines, have tried
strenuously to make fashion plates out of the wives of our presidents
and other politico-statesmen, but hardly with success. Most of these
wives either have been of a retiring nature, socially, or came from
middle-class families or, like Mrs. Franklin Delano Roosevelt, their
interests have concerned things more fundamentally important than
fashion. Infrequently one sees a photograph of Mrs. Roosevelt posing as
a model for a new gown; yet, studying it, one has the inescapable
impression that she is abstractedly thinking less about fashions than
airplane timetables, a talk before the Girl Scouts, a radio speech, or
a visit to a charitable institution.
Fashion
leadership has come from the social arbiters of Our cities and small
towns, whether they have been the Astors, Vanderbilts, Schermerhorns,
or Goulds of New York; the Potter Palmers, the Marshall Fields, the
McCor-micks, or the Pullmans of Chicago; the Fairs of San Francisco;
the Lowells, Lodges, and Cabots of Boston; or the leading society women
of your own home town.
In
Europe, fashions were directly influenced by and put on display during
the great state balls. This virtually meant a fashion decree. In the
United States its counterpart has been the grand opera. It might be the
Metropolitan Opera House in New York, with its famous "Diamond
Horseshoe," or the Chicago Opera Company, housed in the lavish musical
palace that the financial pyramid of Insull built, or the San Francisco
Opera Company. These influenced many other cities, directly or
indirectly, during their tours or during the tours of smaller and less pretentious traveling opera
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