Linens Are Excellent For All Types Of Summer Wear

Dominion, Volume 29, Issue 69, 14 December 1935, Page 22

Linens Are Excellent For All Types Of Summer Wear

Barbara)

(By

Some weeks ago I extolled the virtues of linen as a summer resort material. This week 1 will repeat the more outstanding reasons for its success. First of all it can be had in almost any weight from a linen tweed, which is heavy enough for the coolest day summer could produce, to a. sheer handkerchief linen which is almost as transparent as an organdi. Then, secondly, it is now made practically nncrushable, and, thirdly, it has a convenient susceptibility to the dye-pot which enables it to be produced in an unlimited range of delicious colours.

The two young ladies in my sketch both wear linen dresses in pastel shades made in variations of the shirtmaker theme. No one can afford to overlook this style, and linen is a particularly suitable material for its exposition. The first frock in my sketch is made of an imported crepe linen iu a blue-green colour. The decorative motif is the double row of stitching which outlines the seams, pockets and collar. A navy-blue dotted scarf and navy-blue accessories provide colour accents.' The hat is made of the frock material and is stitched to match it. Both this dress and the one on the seated figure have raglan sleeves and slight gathered fullness in the bodice. The second frock is also trimmed with bands of stitching, and is fastened up the front with buttons which are placed in pairs. This frock is made of lime green linen tweed, and has a nutbrown scarf and belt. Now that summer is here we _ are able to observe the success of linen when used for tennis frocks, town frocks, suits and evening frocks. Floral linens are perfect for holiday evening wear, and plaid linens make the smartest of suits. To-day I saw a tailored suit made of a coarse weave white linen with a yellow plaid line running through it at inch intervals. The skirt was plain, with two box pleats back and front, and the jacket was made with links in front and an inserted belt with fullness above the waist at the back. The re vers were wide and man-tailored, and a yellow linen blouse with a cravat scarf was its inevitable complement. Chamois leather gloves of the same yellow and chamois leather bag and punctured sandals were the immaculate accessories chosen. The yellow blouse, bag, shoes and gloves would look charming when worn with a light navy-blue linen suit. For the woman of fuller figure straight-back, hip-length jackets which are pleated into a yoke six inches below the neckline at the back are slenderising and becoming. This summer off-white accessories are in vogue. Some of the most chic of the new shoes are made of doeskin in a greenish off-white shade. These remain clean longer than white, and have a subtly neat appearance. With the orgy of femininity in which we indulged at the beginning of the season, it was only natural that there should be a reaction in favour of more tailored types. Not that the coining silhouette is in any way a boyish one (true there have been rumours of a coming militaristic mode, but. this has surely been inspired and given undue importance by the pervading atmosphere of war and unrest) ; it is

rathe!' a simpler tmd more clearlydefined silhouette which is cut to mould and flatter the natural lines ,of the figure. In the evening we drupe ourselves in flowing chiffons or swatlie ourselves in clinging crepes, and in the daytime our clothes lose any suggestion of the chi-chi or trimmed. Extremely simple lines absolutely untrimmed will be used in the afternoon frocks which we may wear now, and will still be right with our autumn furs. Drapes and swathes and sculptured lines will replace the pleatings, heavy shirrings and general fussiness of the spring fashions. When jewelled clips or bows are used they will be

used as an integral part of the garment and not as an added decoration. The heavy renaissance jewellery and strands of pearls which are worn with them only serve to accent the extreme sanity of the new frocks. Not only are they sane, they are also “saintly.” Although the exaggerated renaissance saints sponsored by Parisian designers are not practicable for every day, thej' are, nevertheless, the

strongest influence of the moment on late afternoon and evening clothes. They lend their colour and their dignity, their grace of line and movement.

Actually, the fashions of to-day, although undoubtedly influenced by those of other times, are entirely things of the present. We may wear the drapery of an Indian princess, or a Grecian maiden, and we may deck ourselves in the rieh purples and reds, the bottomless blues of a. Botticelli picture; but we, nevertheless, remain undeniably modern. Classic drapes and angelic colours assume a new aspect. They do not change us; we change them. Gra-

dually their trappings fall off. From a great distance we study them, note their true forms and blend them to our own needs. The modern coutourier creates for modern woman gowns which embody something of woman’s dress throughout the ages, and yet are undeniablj hers. He regards her much as a sculptor his statue. From the top of her head to the tip of her train he moulds her in perfect unity of line.