N.Z. Fashions Come Of

Press, Volume CIX, Issue 32127, 24 October 1969, Page 2

N.Z. Fashions Come Of

Top: A white, fun fur with front fastening of leather straps and gold, case locks modelled by “Miss New Zealand” (Miss Carole Robinson). Bottom: From Lanvin, a doublebreasted coat in apricot, coSee and cream checks with its own, very full cape reversing to apricot. Right: A romantic maxi in white wool, belted and banded around the hood and gently flared hemline with black trim, worn by New Zealand’s “Rose of Tralee” (Miss Paula Ryan).

New Zealand fashion has lately come of age. On Wednesday evening a capacity audience at the Winter Garden witnessed what would have been an unbelievable spectacle just a few years ago—Christchurch-made clothes more than holding their own with im. 1 ported Paris models. In the lyric proae of the narrator and producer of Cantwell Kaleidoscope, 1970, Mrs Paddy Walker, of Auckland, this was the "singing strength of a nation breaking into a new day.” Economists would probably put it down to the profit incentive in an industry which is earning an increasing l share of overseas funds in, a highly competitive market In some quarters the youth cult is credited with keeping us up to date, and many New Zealand designers are finding a newly sympathetic climate in their home land. t Certainly the two-hour parade was a break-through of masterly precision, imaginatively devised and professionally polished. Philip Chatfield's choreography, set to music aptly arranged by Doug Caldwell, kept the models moving in dancing, rhythmic style. Even the elegantly attired male models entered into > the “swinging” spirit Paris Designs The mini collection from the Parisian designers, Lan- 1 viq, Feraud, Venet, Patou, Larouche, and Armand, provided a quality measuring rod for the local product The latter stood the test well, in some cases coming out with higher marks for impact and energy. With the exception of a tent dress decorated with a brightly coloured target from Armand and a lime green tunic worn with black turtle neck and tights and Feraud, most of the French models were obviously for an older age group.

Beautiful cloth and perfect cut and construction distinguished them as aristocrats in the company of an aspiring fashion generation. Among the highlights were: A simple, schoolgirl-look dress in cream wool with a deep, round yoke, gym-slip pleats, and round, buckled belt, by Patou. A three-piece outfit from Venet of red, very flared coat with funnel collar, cream, perfectly shaped tunic, and wide pants. Two designs apparently in demand by the jet-set: a Persian inspired set of velvet, braided bolero and blouse has sheer chiffon pants which it is rumoured Mrs Jackie Onassis has ordered, and a version of the see-through favoured by Brigitte Bardot —brief, sequined bra, sheer trousers and cape dotted with flowers. “Enough to protect thep roperty, not enough to spoil the view, said Mrs Walker.

Colour Themes Well-cut, flared city pants in kelly green and clear red with brass buttoned, sometimes belted coats formed the first of a fast moving series of tableaux based on colour themes. The clothes were the company’s collection for next winter, emphasising plenty of fit and flare, buckles, belts, short skirts, and winter colour both warm and natural. A swirl of red and forest

1 green tartan formed two coats —one a dashing tent with pockets set low and the other fastened at the waist-line with silver buckles on either side and complete with kilt pin. Shades of grey flannel from pale silver to charcoal, stepped out in immaculate, clean-cut suits and coats. For women inclined to play the “Power Game” the models, accompanied by escorts clasping briefcases and with the theme from the television series in the background, showed city tweeds, firmly belted, in brown, russet and beige (with long, matching scarf), and fresh black and white.

Shapely Styles A pair of very shapely, feminine styles in novelty check coloured mustard-and - beige and black-and-white were trimmed at the waist with buckled, self belts and at the collar with white fox fur. A pepper-and-salt trio was led by a trouser-suited model whose jacket came complete with black leather elbow patches. Circular stripes, stjll a fav-, oured fashion feature, banded soft knit coat in baby camel and cream. Ginger, grey, win-ter-white, and black herring-

bone stripes spiralled round a very sleek model with a high, half black belt. On the brighter side of the kaleidoscope a pretty quartet in mauve and pink danced out Brass buttons glistened on double-breasted coats, their belts slotted through gold tipped loops, of glowing saffron.

With sound and action tribute to “The Avengers” the leather look was introduced in rich-brown, brass-buttoned trench coats and croppedjacket suits. Fun furs, which get more like the real thing each season, shaped up in “hamster” (a mottled, cream, gold, and brown pile fabric), “horse” (chestnut brown and looking as if it had just been licked), and most luxurious of all, deep-pile, rich-brown, banded “mink.”