PARIS IN THE LOOKINGGLASS

Evening Post, Volume CX, Issue 100, 24 October 1925, Page 15

PARIS IN THE LOOKINGGLASS

FASHIONS AND FANCIES.

(Written for "The Post" by ''Oermaine.")

PARIS, 31st August.

During the past fortnight there have been hold several fashion shows, exhibitions of the trend of the mode as it is presented by the foremost creators of styles in Paris.

At each of the gatherings—an invitation to which is esteemed a rare privilege—there is evidence of a tendency towards a higher plane, a better standard in all things that have to do with ■women's dress. A vital point is the harmony shown uniting art and commerce, beauty and stylo. It is interesting to observe the psychology that has drawn together the artist who designs and the men who weave, dye, and market the materials that represent an appreciation of quality, a feeling for colour. The intelligence, skill, and industry to accomplish these things, and the imagination which has seen the finished model, command one's most profound admiration and respect.

These fashion symposiums are now "staged" with all -the dignity, comfort,' and conventional attractions of a social affair. It is aa though a magic wand had been waved, bringing to dress many of the elements that delight us in the finer arts. A LONG COLOUR SPEEE. The theme that caught the attention of the style conventions was colour. It is a sort,of slogan, not only for the moment, but for the days to come. Design, line, method, are all on a long colour spree. It is the thing uppermost in the thoughts of every promoter from whichever end he approaches the subject. The mode for autumn is being shown in so many engaging models. There arc the sat-ins,-velvets, and. silks, illustrated by the most prominent coutnricrea in frocks,' and suits, and coats, giving one a peer into the season far ahead, but acting as a gauge by which to check up the present styles. The designs already accepted will have some sequel in the.fashions that are to follow those of the autumn: Their genuine points may bo traced in the creations that carry on. The acid test will apply most of all to colour. Fabric is first of all a matter of season, though all tradition has been left i out of the scheme in. the. latest mater--1 ials, since the mood is for silk, satin, and crepe. Any, in fact, of .the [silk-variants. In these, a wider horizon, a deeper sense of colour, is painted from a fuller palette than has ever given beauty and) importance to just clothes, translating them into creations. PLEATED FABRICS ALL THE RAGE. , ; , Pleated fabrics are all the rage. 'Never'was•"there' such-- a vogue for pleats in every description and every style of material. For morning and sports wear there is the skirt of pleated kasha, for smarter occasions there aie pleated fourrcaux to bo worn under long tunic that are so much in favour at the moment." Nothing could be more graceful and becoming than these dresses of georgette or of Tehinaerepe, and their short, pleated skirts make them particularly suitable for ' wear whilo dancing. Great originality is shown by the couturiers in inventing new forms of the ever-popular plissee. One sees it disposed in points, in chevron's, and even in lattice work designs,' all of which are highly decorative as trimming for gowns. ONE TRICK THAT IS CLEVER. Analysing the most artistic ensembles created by Parisian artists, there is one trick that is clever at every turn—tho scarf. In some exceedinglywell-balanced models it appears to be inconspicuous,

but it really is an essential feature*, giving character to the -whole costume. The scarf, the Spanish shawl, the muffler have long been with us in varying phases, but long regarded with apathy. Lately, however, they have become almost as important a3 one's huts, shoes, and gloves.

The separata shawl or scarf of sheer olond-Hke stuff, all the enchanting chiffons and gauzes, painted, embroidered, quilted, trimmed with swaying fringe or feathery hordcr, is. the rago for dressy occasions. For evening dress some such caressing touch ia indispensable, and the styles presented are iia many as there , are artists of imagination to fashion them. The blatant Spanish colourg and obrions patterns are leoß seen;

gentler lints and more gracious weavi aro worn by well-dressed women.

THE WAY IN WHICH THE SCAR

IS EMPLOYED,

NOS CHAPEAUX

The silk, ci'epe, or light wool scarves, in which new designs aro being shown frequently, arc adapted to every gown, for every season, and time of day. Scarcely any of the late ensemble models aro seen without a scarf of some sort. In some a detachable scarf of the same material as the dress is kept to wear at times when the coat is not required. Many coats are finished at the neck with a scarf that is lined to match the gown, instead of a formal collar. A strictly tailored coat, for instance, has a narrow cravat-like scarf. A coat without revers closes with a single hock at the neck, and one end of the strap-scarf is drawn through a slit at the other side and is thrown back over one shoulder.

Let us look at the Frenchwoman and sea how she manages her millinery. She excels not only in choosing a hat but in the way she puts it on. There is so much more in this detail than at first appears. A pretty face gains by a well-

placed hat, a plain face can become' quite attractive.

A hat can be so expressive. It can be aggressive, commonplace, nouveau au riche; it can hold the romance of a lifetime in its folds or its trimmings. Chosen without a purpose, it goes with nothing in one's wardrobe. Chosen with a purpose, it can link up two odd articles of clothing and make them one.

For more elaborate wear black is always safe, and black hats are all the "go" in Paris this season. Medium-sized hats of leather are being worn, the brims being lined underneath, either with tho same colour as appears on tho dress or in some pastel shade that throws a soft shadow on the face. Oxydised silver tissue is an excellent lining for a mole marociin. hat, with just a torsade of oxydised metallic fabric twisted around the crown. A water lily and its bud, or a lotus lily, is -just right for a large hat of black marocain, although grapes and roses made in wax are also much used. Fuchsias will be very much in demand, also gold and silver metallic grapes.

Beetroot Pickle. —21b beetroot, 4oz castor sugar, 8 cloves, vinegar. Peel some nice tender beetroots, cut them up jnto rounds about the thickness of a shilling, and put them into a large bottle or jar, about three-parts full. Add the sugar and cloves. Stand the jar in hot water and fill it up with boiling vinegar; cork at once with a new cork, which should be well soaked, and coat this cork all over with sealing-wax. This pickle can be used as a simple hors d'ocuvre, or in salads as a garnish.