SHOULDER INTERPRETATIONS—THEY ARE MOST IMPORTANT.

Auckland Star, Volume LXV, Issue 11, 13 January 1934, Page 3 (Supplement)

SHOULDER INTERPRETATIONS—THEY ARE MOST IMPORTANT.

How strange It Is, then, since this ie so obvious, that women do not reap their golden heritage and create, at least, the effect of good health! Eather do they prefer to enter a strange world of bartered personalities. The open countenance is painted to reeemble the mysterious and interesting, _ button mouths are extended to elite, slits made like buttons, heavy brows are plucked, invisible brows are darkened, eyes are made to look like deep pools, lashee blackened, lids greaeed. Magnificent work! Art of the highest, a skilled technique—but tq what end employed? They seek to alter themselves rather than to improve. Generalisations about women are more 1 likely to be critical than helpful, and so we may dismiss the twin theories that they dress in order to attract men and to annoy each other. But bereft of these two corner etones of philosophy we are compelled to look for some other explanation of it all. An Unreal World. Why do women transform themselves into something so rare and so strange that a fashionable woman lunching at a smart restaurant seems, at no point whatsoever, to resemble woman in her natural state? There seems to me to be only one answer. A man may T>e said to have two.lives, his business life and his home life. He has two worlds in which to win success. A woman—the woman who is not in business—has but one. And it may be that she is seeking to create for herself in a world of unreality another and more fantastic life than that to which Nature has appointed her. Perhaps she is trying to live two lives. The life of her home, where she plays with her children, and reads to herself and thinks, and the other life, in a brilliant world where, disguised by her own cunning hand ae a princess or a film star, she moves more gracefully and takes a more exotic part. Perhaps it is rather reactionary to want women to be realistic rather than imaginary painters. On the other,

A Return to Light Complexions. There is much talk of a possible return to light complexions. The nutbrown maid, the Creole girl and the olive-tinted damsel are all out of fashion. To look like a camellia is the new idea. This will no doubt lead women to go in for cream and tea-rose complexions. I should not be surprised if milk-white shoulders came . into fashion. This will be easy enough for those who have been using artificial colours, but what about those others who have been taking sun-baths or living out-of-doors all through the summer months? They need not be alarmed. If they take the proper kind of treatment, their skin will become <i 6 white as can be wished. Baths of blue light, camphorated jelly and Bulgarian Yahouart —taken internally —will do the trick. To complete the process of getting the damaged skin into good condition again, maeeage is of immense importance. It does not matter if we come back from our summer holidays as brown as West Indians. If fashion requires it, we shall only have ourselves to blame if we do not appear in public with a creamy camellia complexion, or one of lilies, cream and roses. Beauty Hints. A sluggish body Iβ the companion of a "sluq;-a-bed" mind, while a live mind inspires the whole physical being. Nine times in ten a fat woman is the padded covering of an inert mind, or a woman who is haggard has had her beauty incessantly gnawed at by an undisciplined and restless spirit. The life of a woman of beauty ie determined, not by luck, or the amount of money she can spend on its preservation, but largely by her own character. Her beauty's survival is a question of using her brain more often than her lipstick. You can't fill your body with poisons and expect it to be beautiful, or to function rhythmically. That ie why you should not smoke.

ishncse in our new clothes may turn the whole of fashion into prattling artlessness. Go out to any fashionable reunion in Paris Just now —what do you see? Grown women dressed in ingenue frocks, a mass of frills, flounces and sashes, a jaunty hat —with a high crown—or a mere saucer perched at one side of the head at a perilous angle, and the coiffure, either a very boyish one or a mass of ringlets. Make-up has lost that garish brilliance that passed as sophistication, and while lipstick and eyebrow pencils arc assiduously applied, the approved result of fashion is the natural rosy colour of childhood, with its softly shadowed eyes and young red lips. A painted "mouth is downright ugly and dowdy if it shows as such. Nature's curves are followed in lipstick application. Younger and Younger. If you can't believe that styles are getting girlish, you have not concentrated on the eweater and the jacket, that's all. Since early autumn, jackets, whether they be part of a tailored suit or separate wrap, have been shrinking— getting smaller and smaller, younger and younger. Even the three-quarter coats have a youthful air about them. There is the buttoned-up Eton jacket or the open bolero, or, if any younger wrap is to be found, found it will be. Evening wraps are no more aged either. Little ruffled capes and miniature jackets. Sleeves, too, have shrunk for both day and evening wraps—just to make them look younger. And childish short gloves, several sizes too big, are part of this back-to-childhood movement. And the sweater! It has become a darling little thing, just to the waistline, with short puffed sleeves, if any, and babyish neckline. You have got to look as young as young to wear it. And it is being worn all over France to-day. The Decolletee. Much ingenuity is being sh<swn in the decolletee. It has, as a matter of fact, turned asymmetric again in a number

i lliiiilH

scarves are of various materials, and taffetas scarves, tied in a big bow, are enorniou&ly chic. Theri there are separate bows, such a white gros-grain one stuck nonchalantly at the back of the neck in an afternoon dress, and another at the waist. Lace bows which are worn with accompanying lace cuffs and a collar add chic to a dark dress. French Lingerie. Under-cover styles, those which never meet the public eye, represent a big slice of French fashions. All the best couturiers of Paris show these inset styles in their imposing salons, and create the fashion changes for them. Lingerie negligees and such intimate garments are constantly altering in stylej' following the trend that our more public clothes establish. When dresses were all cut on the cross, chemisee, slips, and so forth took on the same slant, and now that French clothes are Straight and narrower, the lingerie that is worn under them follows suit. Lingerie colours arc usually paler tones of the smart outside style-shades. There are lots of orchids and lilac chemises, culottes and what not, around Paris. Pink will be big in autumn for lingerie, and pale blue is a lingerie riinner-colour, followed by pale green and flanked by white, which is still the leading lingerie colour. Parisiennes consider white lingerie, trimmed with real lace, preferably Valenciennes, the perfect lingerie. Negligees do not follow colour trends for public eye ensembles. The negligee affords a chance for women to go in for the exotic shades they can't wear outside, and they grab it. A French negligee fashion for the woman who wishes to economise is the crepe silk nightgown in a rather dark colour, with a little jacket to go with it, which may contrast in colour or match, and which may be removed at will. Whatever the material or the colour, the ideal negligee should be a garment that is graceful. In your negligee you have the chance of a lifetime to be alluring and personal—don't miss it.