ROMANCE OF FASHION

Evening Post, Issue 145, 22 December 1928, Page 13

ROMANCE OF FASHION

GOOli TASTE'THE ARBITER Fow subjects are so little understood as the art of tho dress designer and fashion, artist, and very little is known of the study and training needed to become proficient in; either branch ,of the art of dress, writes J. Cochrane in the London "Daily Telegraph." Many people seem to think that a flair for fashionable clothes is all that is needed. Although this is an asset, it is by no means sufficient, as ..the aspirant would find.when up against the specialist in dross. It is essential to have a real knowledge of historical costume, of., the evolution of cut, and-of the possibilities of various materials. It is also necessary to be able to draw sufficiently to put one's ideas upon paper, and although one need not necessarily be a good needleworker. one must havo a good knowledge of the craft. The school whero dress designing and fashion drawing are taught now insist on the study of these subjects. WHAT CONTROLS FASHION? Who shall say what controls fashion or what it is? . It is certain that it reflects one aspect, of our civilisation and habits, and our social relations. Dress has had tho concentration of every age, and has:produced at each period a delightful and beautiful type according to the specialists of each age. But that "thero is nothing new under" the sun" is certainly true, in regard to clothes. Details of costumes recur at frequent. intervals through tho ages., For instance, the cartridge pleats of the fashionable moire gown of to-day were a feature of the cloth coat fifteen years ago, and have been1 repeated throughout the ages from the fourteenth century, when the thick, homespun: yarn had to bo gathered into the tight bodices, and cartridge pleating was the only way in. which the material cfiuld be manipulated. The ruffle oi the Elizabethans, which was tho outcome of the gathered heading of the full'shift or shirt of the two preceding reigns, has recurred.at intervals in fashionable clothes ever since. But for the dress designer, mankind might be merely clothed, instead of dressed. Good taste must be the arbiter of dress, and insure harmony in every part of the costume. , The ideal dress should express the character and mood of the wearer, and in. doing. this will always look right; ; •• ; It was, said by a famous'FrenchwoI man of fashion, in tho 'sixties, that one might be sentimental in a blue bonnet, but that one must not cry in a pink one.- 'Although both those moods are to-day out of fashion, this subtlety is important to tho professional. It is his grasp of the characteristics of tho individual, that makes 'the. fortune of the costumier of-tho fashionable world, and for. this reason .the dress designer would do well-to study the art of the theatre, as it necessitates-an intricate knowledge of historical costume. Although the costumes must bo subservient to the dramatic interest, of the play, they must show a careful portrayal of character. It is quite obvious that the pale, weak.-Ophelia..could not be dressed in the same colours-as the brilliant, capable Portia.'.., '. :."'.'.'. THE MODEEN IDEAL. Tho modern fashionable girl in :hcr short skirt of neutral-coloured, handwoven tweed, with slender practical coat, aud expensive pliant felt hat, is tho picture of boyish, youthful efficiency and self-reliance, - tho characteristic choice of colour-harmony accentuating the charm' of.' the"wearer. Modierji cjo.thes. only .fail to..c.harpi -.\yhcn,,the wearer; has noiie-of ";the'se: qii-alities; Thero is a'deplorable-'.similarity'•*.'" in modern fashion to-day, due to the economic necessity of cheap mass production. In the past only the women of fashion were considered,-and .designed for, while the:.poorer'classes-were not 'dressed, but' just-.qlothod. themselves as well as they'could 'afford;'.".Nowadays, however, quite vyellrdesign'e'd; !■, clothes are within the-:reach-"'-! of -everyone, though they'aro'neceissafi!y,:.b£"a similar pattern. :..■',■:■: ■-.■'.i"J'.,. ; -; :: ,'