New classicism

Press, 7 March 1984, Page 8

New classicism

In vogue

Paula Ryan

At the turn of each fashion season in Christchurch, Beth Fox, at Olivia’s in Merivale, pays homage to four New Zealand collections — Rosaria Hall, Aurora, Kay Austin and Fanny Buss — by holding a simple salon-style showing. Her love of the arts and their feminine historical culture shines through at each presentation. For winter her presentation centred on the presence of the Janice Gray jazz group complete with baby grand piano. This group clad in white tie and tails gently played as models swept through the gathering. Janice Gray’s beautifully deep jazz singing proved to be a highly deserving distraction.

In a season loaded with black, grey and the bright accents, it is hard to believe that the four designers featured could create completely different styling, but they have. Rosaria Hall’s collection is modern without trappings. It’s severe and architectural and her ongoing adoration of Italian design has never been more evident. Winter line for Rosaria follows the aristocratic Y and T shapes. Two garments in particular shone — a grey wool gaberdine suit with lengthy skirt and superbly styled jacket with triple leather shoulder inserts. The other was a large "new savage” Cashmere and wool mix black jacket with deep setin sleeves and bold leather

piping. Both leather and lambsuede, and corded velvet along with tweed mixes in knit prove front running fabrics in her collection.

The Rosaria Hall chemise in single knit wool jersey has simple hip gathers and bodice of geometric panelling. Her skirts are all lengthy. Her top coats in Eure wool facecloth are road-shouldered with wide asymmetric front buttoning. Her Japanese interpretations were most evident in a black and coffee jumpsuit with roll detailing. Aurora was mostly a story of co-ordinates. Long button through black wool crepe skirts were worn with tabards and cowl neck shirtings. They have also favoured the plains, stripes and tweeds. Dogstooth checks and their boldness were seen in double • breasted lengthy pea jackets. The Aurora chemise narrows from a cowl neck and wide shoulders.

Quality wools, detailed finish and imaginative knit-

ting and shape are the hallmarks of Kay Austin’s winter knitwear collection. Her styles came alive through pattern and colour. Tone moved from the bright sapphire blues to reds, through the neutrals, blacks, greys, terracotta and rustic red with splashes of colour mixes. Here again patterns are the front running houndstooth and the bigger dogstooth checks, although chevrons featured. The Kay Austin collection this winter is considerably broader, ranging from short lengthy tabards, cardigan jackets and oversized cabled sweaters to neat short tabards and dolman sleeved sweaters. Her woolly scarves are lengthy mufflers worn wrapped and twisted or draping long. There’s an apparent reason why her knitted cardigans and sweaters have become regarded as seasonal “must haves.” They can provide a simple and economical updating to existing wardrobes of even several seasons prior. In the Fanny Buss evening wear, traditionalism was the norm, however the hand painting talents of Alexis were at their best in shorter cocktail co-ordi-nates. Skirts were black, short and plain, and tops T shaped and border or diagonally painted in softer shades on white, cream or misty tones. The “finale” - Hollywood as it was for revised formality: a waisted full length gown with billowing sapphire blue taffeta skirt.