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55
Felix Austria
the diversity of international
art masters in foreign
fashion.” Although in this
case too I do not have the
slightest doubt that each one
of the chevalier’s miracles is
just a well planned conjuror’s
trick, and the answer is an
arm-length away, directly
in front of the eyes of the
shocked gawker.
Right next to the portico
columns of the Moniuszko
City Theater, whose solemn
golden dome is like a cover
of a round chocolate from a
fancy set, right behind the
back of the Carrara marble
figure of Adam Mickiewicz,
the audience has gathered:
the big fish—the bankers,
business owners, senior
railway
officials,
with
luxurious sideburns grown
to demonstrate their loyalty
to the Austrian crown (some
of them in their efforts
outdoing Emperor Franz
Joseph himself—the high
point of his own sideburns
came during the Paris
world expo in 1867); their
ladies, dressed to the latest
fashions, already inside the
theater. Staying current with
the fashion is not as simple
as it may seem, especially
since these days we are going
through a transition from
wide to narrow cuts, creating
considerable confusion and
chaos. Thus side by side with
the narrow English skirts
wave numerous volants,
next to the heavy velvet
appliqués, playful sparkles of
shiny necklaces and corals,
and right next to ribbons
and flowers, understated
buckles. Only one feature
is in common: the dresses
are cut low, revealing not
only the neck, but also the
shoulders, and corsages
are held in place only by a
very thin ribbon or a small