Exotic Eastern Touches

Press, Volume CIV, Issue 30811, 24 July 1965, Page 2

Exotic Eastern Touches

(N.Z.P.A.-Reuter — Copyright) LONDON, July 23. The baby of British couture, the 31-year-®H former sailor, Clive, ended London’s autumn collections yesterday with a wave of exotic Eastern fashion magic that took the honours away from his more experienced compatriots. This blond young Welshman’s Merchant Navy voyages inspired vividly coloured, Orientally-patterned Arab robes and “rajah” outfits that set his sophisticated salon audience humming in apipreciation. While following the figuremoulding, wide-shouldered lines set by the rest of the week’s collections, Clive translated them into a combination of fabric and cut that spelt total femininity. He wrapped his models in diagonally-striped, hooded cloaks over slender, strapless evening gowns. But the maximum impact)

came from face-framing hoods, in fabrics from boucle to jet-encrusted lace, worn over everything from narrow winter suits to full-length satin gowns. He also hit his audience with a crackling tube wedding dress of white plastic. Charles Creed’s collection —usually noted for its uncompromising tailoring—was surprisingly caught up Into this season’s feminine stream. But the influence of his fellow director, the Australian, Bob Schultz, was strongly discernible in the soft lines of narrow clutch coats in palest pastels. Close runners-up to Clive with the liveliest clothes in these often-staid autumn collections were the couturiers, Ronald Paterson and John Cavanagh. HIGH FUR COLLARS They confirmed the skimpy skirt line, with clothes which cut the knee-cap or even bared an inch or so above it. Both subscribed to the slinky tube line. Cavanagh wrapped his models in coats with eyebrow-

[brushing fur collars, and fitting dresses of soft wool or lace which billowed out from I long tunics into fullness below the hips. Paterson proved his society clients appreciation for the clinging silhouette by showing a handful of “budget” outfits—priced from £3o—that have proved immediate bestsellers. Michael, the former architect couturier, known for his uncompromising cut, produced the “squarest” yet most advanced suit in the collections. Nostalgia for the 1940’s that threaded through most ranges came out strongest in a narrow, Mack and white herringbone suit with widelypadded shoulders above a short, straight skirt. The beret and the turban emerged as easily the most important hats for the coming winter. Jaunty little sidesiitting berets were translated into everything from gold kid to mink, while head-hugging turbans matched daywear in jersey or cocktail dresses in glittering brocade.