Chat From Paris

Evening Post, Volume CXXIV, Issue 27, 31 July 1937, Page 19

Chat From Paris

(By Margret Manet)

EXPRESSING SPRING

The small suits this year express youth and springtime with every lithe line. Personally, I think it comes doubly welcome after the Grand-occa-sion garb this last winter bestowed upon us with such lavishness—the sheer, and childishly brief silhouette that is at the moment everywhere in Paris—so simple, so subtle, so direct, yet so sophisticated.

One is, of course,1 quite justified in drawing a deep sigh when one attempts to apply these adjectives to oneself. It is the Parisienne born who can interpret these clothes. We, though we live with her, cheek by jowl, can only stumble in her lead. But the designer is a kindly creature who acknowledges deficiencies in only .the most charming way—by recreating them as attributes. And so we sally forth. THE TWO TAILLEURS. It is discreet this spring to possess a tailleur. They are of two types. The lady of wasp-waisted elegance, who wears her revers cut low and is content with one mid-length fastening. With almost every model I have seen there goes the waistcoat, doublebreasted, fitted cleverly. The skirt of her jacket is just a shade longer than is usual and flares ever so slightly. And there is the mannish Miss who buttons high up under her stiff white cravat with three buttons, is normalwaisted, braids all her edges narrowly, sports four pockets, and insists on stiffstarched shirt cuffs. The first wears, in all probability, a tiny flat cap like an acorn cup—stem and all. The second almost inevitably wears a Glengarry. NAIVE AND PETITE. For the rest—if you are naive and p e yte—or just nineteen—you choose a deliriously frivolous little outfit in pale amber. It is a frock —the skirt front • panelled with inverted pleating for fullness and with the new waistgathers towards the front. The bodice, ■ which is entirely corded in a brown ' scroll design, is cut right up the front ," and clipped about three inches below ' a straight uncollared neck. Its sleeves fall somewhat short of elbow length. Over it is worn the smartest of small jackets—brief and slightly fitted with- ■ out collar or fastening but worn to re- : veal the frock below. All its edges, ex- ■; cept where the design tapers towards '■the back of the neck to plainness, are :' decorated with the corded scroll pat- • tern, deep and lavish on hem and : cuffs. ; A HAPPY COMPROMISE. • Happiest compromise that I hay? j seen between these two is an ensembio I of finest wool crepe in two tones of • blue, and edged with a fancy braid ; that stresses original lines. The frock i

—very brief and slender —is of the paler tone until it reaches near shoulder height when it apparently decides to match the jacket. It is back fastened, which strikes a new note, and the skirt favours the new side slits for walking. The bodice, short-sleeved, is scrupulously plain except for a line of braiding which runs horizontally just below the shoulder line and on to the arm. A line of braid, upstanding,

finishes the neck and matches the hem. An utterly plain jacket, except for its braided edge, is lined in contrast—this model in mustard gold.

Accompanying is a turban-like cap with stiff staccato ends in front, that appears to take complete charge of every tendril of hair and somehow completes the vaguely Eastern ( effect that is the secret ol its success.