CLOTHES IN THE LIMELIGHT

Dominion, Volume 19, Issue 237, 21 June 1926, Page 2

CLOTHES IN THE LIMELIGHT

$ CAPES AND BOLEROS It is rather comtortmg for those who find it naru to become acclimatised to tlie fashion 01 hnec-iength ciotiies to sec signs oi a general leuguieuiug 01 sicirts. aitnougii Hie young woman ol to-day may continue to wear a type of garment that not so many years ago would have been considered only suitable as a uniform lor “gym” practice, clothes for the older woman are being designed with kindly disguising draperies and flattering box-pleats. Capes, too, are gaining in popularity, and tlie little slip-on coat seems to be enjoying a new lease of life. The slip-on coat has survived many changes since the days when it first made its welcome appearance as a woolly sports jersey. To-day it is found in colours and materials to suit all occasions.

In “The Cat’s Cradle” at the Criterion Theatre recently, Miss Marie Tempest had two short coats that are more than usually charming. A loose sleeveless tunic-coat edged with two bands of silver is worn over a straight black chiffon slip, and the result is a very useful and charming informal evening gown. Over this Miss Tempest slips an embroidered Mandarin’s coat, collared and lined with white fur; it looks a very desirable wrap for the summer, and could be worn with pleasure at a theatre in England o- at a casino abroad. Anyone who is fortunate in possessing one of these Chinese coats or Chinese embroidery of any kind and has been in the habit of regarding it as a’white elephant would be wise to take a good lopk at Miss Tempest in this act. A white crepe de chine dress has a cross-over roll collar finishing at the side with a buttonhole of cornflowers and long blue-coated sleeves, and a skirt with waving lines of blue and white running round the hem is worn by Miss • Tempest under a long naw blue cape. This is extremely neat and well tailored and has a ■white collar, and lining to match the dress; it is also patterned half-way down with several waving lines of white. A small highcrowned blue Petersham hat—rather like a flat top-hat—is worn with it, trimmed simply with a leaf of diamante stuck rather■ jauntily in front. A good example of the cape and coatee fashion merging into a bolero effect was worn by Miss Mimi Crawford in “R.S.V.P.” at the Vaudeville Theatre in the form of an evening dress made in the palest blossom pink chiffon with a little sleeveless capecoatee outlined with roses and diamante. Another charming dress worn by Miss Crawford in the revue had a full skirt slit into panels, embroidered with marigolds; and a Nile green coat with a chinchilla collar has a queer little bertha cape. The colours in Mr. (le Bear’s revue are exceptionally wclj chosen; mauve and maize are successfully blended, and a cherry-red evening dress with a lavendar hem is as pretty as it is unusual. A lettuce-green taffetta picture frock has a transparent tulle hem, and is worn over a short silver slip, and the blue silk pannier dresses worn by the “Three Graces” are particularly charming with their white fichus, gold lace underskirts, and blue satin buckled Cromwell shoes.

The cape fashion is again demonstrated very successfully by Miss Isabel Jeans in “Conflict” at the Queen’s Theatre. A copper-coloured marocain sleeveless gown is patterned with green and black leaves, and its little cape is outlined with blue; a white crepe-de-chine dress is embroidered with a design of pink and mauve carnations and is made with a cape back and long, close-fit-ting sleeves. In "Enchantress” at the Garrick Theatre Miss Gertrude Elliott also makes an appearance in a voluminous cape. Tins is a handsome gold affair trimmed with Kolinsky, and is worn over an apple-green chiffon dress with a sash effect draped to the front. This is changed for a youthful white georgette frock, cut into panels, and lavishly with green and gold diamante. Black and gold is very effectively used in a two-piece suit. The coat is cut with a fairly full skirt, and the wide bell sleeves and the, revers are lined with gold tissue. But Miss Elliott’s most exciting creation, in which she looks lather like a fairv-tale Indian princess, has the 5 effect .of being woven out of shiny geranium-red raffia and gold. The bodice of patterned brocade has a loose box-pleat* at the back, and the skirt, which is formed of bead fringes, has a chiffon sash trailing to the ground on one side. With this Miss Elliott wears a heavy gold chain and carries a frail black lace fan.