FASHION NOTES.

Auckland Star, Volume LX, Issue 134, 8 June 1929, Page 4 (Supplement)

FASHION NOTES.

GEOMETRICAL FASHIONS.

VALUE OF THE BROKEN LINE,

(By A PARISIAN EXPERT.)

A, Paris dressmaker chanced one day to come across an ancient volume of Euclid. Turning over its yellowing pages, he was greatly impressed by the illustrations contained therein — the perfection of parallels! The serenity of circles. The Incontrovertible assurance of isosoles triangles! Here, indeed, was virgin soil and abundant inspiration for the spring fashions, about which he was at one time so greatly exercised! The result is that our fashions for the coming season will reflect many of these geometrical illustrations in no uncertain manner. I have seen pleats, stripes and tucks, employed in all sorts of zig-zag ways, running diagonally or horizontally round sleeves and skirts, and from waist to *Jtoulder or hem. It is true this fashion

lias already made its bow to the public, and in no uncertain manner. But this season, it is more charming, more quaint, more fantastic.

Broken Lines for Effect. Some of the latest and most interesting effects have been achieved by means of broken lines. Diagonal and horizontal incrustations, usually carried out in the dull surfa'-e of crepe satin, are a special note in the spring fashions, and in one or two cases the waistline is indicated by bands of inerusted material, which ends in loose ends tied in a knot. There are no more flapper fashions. On the contrary, there is a fervent plea for greater dignity and distinction. The comfortable curved lines are in again, although the pursuit after slenderness is as great as ever. To combine the two is the work of the artist, and this season the artist has done the job and done it well. The narrowness of the hipline is more accentuated than ever, and in spite of fuller skirts, slim, straight, slender figures are more popular than they have ever been. The wide skirts featured are evidently a new device for accentuating slhnness, unless, of course this happens to be the happy age in which all women, not being really slender, give one the impression of being so.

Changes in Details. We have given up looking for tremendous alterations in our clothes, and we know that there will not be any drastic efforts in this particular direction. The fashions, as they are, are so beautiful, so perfect, that to change them would indeed be a dieaster. However, there are many small details to be noted—a fact which makes fashion chronicling infinitely harder than if a series of fresh fashions, each more startling than the other, was suddenly launched upon an 'expectant world. There are many new things which make all the difference in the look of a frock. Waists, for one thing. One hears predictions that waists are going to be higher, but that does not mean they will be normal, and it will depend a great deal upon the style of the frock. For instance, on certain frocks the waistline will remain very much, where it is, that

is, neither high nor low. A compromise is sometimes come to by means of belts; belts composed of four bands of material connecting the corsage with the skirt. However, no appreciable change in the waistline is likely to take place until a demarcation just below the bust has a chance of being reintroduced.

New, or apparently new, is the slender silhouette emerging from expanding layers of transparent textures —as are unending variations of flaring godets, or tube-like gowns. These are out on the bias or on the straight, some placed as low down as the knees, and some, even iower down, bordering the hemline. A Real Novelty. A real novelty in dress needs study if you want to get away from it properly. And some of the new models, especially the gowns of stiff silks, with their added length and extensions, take a lot of "wearing." Indeed, a woman needs to be very graceful, very tall, and very slender to carry off some of the new fashions well.

But I must not forget to tell you of the new, absolutely new, vague and indefinite bodices for evening wear—creations, best described as an assembly of textures clinging closely to the upper part of the figure, leaving materials below the hipline supple and flowing,

giving to women in motion the appearance of floating, rather than walking. Such gowns are absolutely modern, they don't remind one of any by-gone periods.

Our Sketch. Day frock of navy crepe de chine with a pretty flowered design. The collar and cuffs are of white, lingerie, there is an inset section on the front of the corsage with tie, a waistline at the normal, and inset flaring sections on the skirt.

is produced by the contrast between boldly cut work and the delicate flowing lines of embroidery.

The Table Centre.

For this you will require: A piece of felt, a square in green; a .piece the same si/3 in any colour desired (deep pink was used. in. the original); a transfer, four skeins of embroidery in a lighter shade of green, than the felt; and seccotine.

First iron off the transfer to the centre of the green felt. Work all steins and leaves in long and short satfc. stitch and stem stitch, working only on' the edges of .the pattern for a depth of about an eighth to a quarter of an inch. This part of the work must present a light appearance. The original transfer consisted of large roses as a centre, with smaller ones for the corners and small buds branching towards the centre. After working all the leaves and stems, cut the flowers out carefully, shaping the curves well. Use very sharp pointed scissors. Much of the success of the work lies in the care taken with the cutting. Jagged edges and broken curves detract from the artistic appearance, so ; t is well worth while to spend a fit tie time on this part of the work. Place, this piece on the pink piece of felt. Fix one piece to.the other by spreading a very little seccotine on the wrong side of the cut work, then pressing down well on the second piece.

Go over all cut parts in this way, so that the cut strips will not be torn when the article is in use.

Now cut all edges perfectly straight to form a square. Turn up the edges all round about two inches and spread a little seccotine, all round about \\ inches from the edges, then press well together.

When all is dry, tack all round about one inch from the edge.

With sharp scissors cut up this inclj through both pieces of_ felt, making a fine fringe all round. Keep the strands as even as possible, and cut round the corners carefully.