Chat From Paris

Evening Post, Volume CXXV, Issue 148, 25 June 1938, Page 19

Chat From Paris

-" (By Mar*ret Manet.)

For the first time in a generation of dress history flannel is made to signify luxury. Comfort It always did, and health—or »■' our .grandmothers, assured us—but: we have had to wait till now, when the magic of the manufacturer (or is it the wool grower?)

has removed the last littlest vestige of harshness, to realise its new and true Tightness and a value far beyond the nursery. Many of the newest spring negligees are built on the sheer, and slender pattern, and one, at least, of flannel is in every wardrobe. Most of the pastel tones are represented, but perhaps the most popular are sand, oyster, and egg whitei ;'One in'the latter attracted me because" of "its originality of line. In cut it was not unlike a theatre coat

and looked ; deliriously business-like with a cravat of brightish navy..

THE VERTICAL LINE.

The bodice was carefully tailored, high waisted, and with one button fastening ever so slightly to the left side. Great wide triangular revers fell away, leaving,a deep cut V and forming yet another and wider vertical line just above the waist. There was a serrii-magyar set to the sleeves, and a certain amount of fulness to as far as the elbow, after which they were tailored to the forearm and cut low on to the wrist.

The skirt of the gown was in nine straight-flaring panels with an almost imperceptible droop to the back. It struck me that this model would have especial grace and dignity in oyster grey with a cravat of yellow or vermillion. All these flannel gowns seem to feature the high ' directoire line. Some, however, are cut sheer, tailored, and flared, from shoulder to hemline, often with a slant of shallow pockets adrift like a flight of birds across for decoration.' Always these gowns open to reveal dramatic linings in sheerest shining satin of violent tropic colour. Utterly different, yet with its definite and individual charm is the negligee built cleverly in sheenless and creaseless Celanese jersey, which I have sketched for you.

SEEMING SIMPLICITY. It is in paper white and appeared to be cut, somewhat mysteriously, in two enormous pieces. As you see, the neck is V'd to a central back seam which runs to an almost trailing hem. Actually, however, there are also side seamings and' a joined waist, girdled with heavy wool cord-twists in bright navy and lemon alternately. The huge back panels of the skirt are cut to flit again and drape upward, and a sash end or two stress the central folds. Sleeves narrow their enormous width towards the lower forearm. This looped and draped modelling, which is almost Oriental in feeling, is in contrast yet again to the Edwardian thing of fluff and feather. Georgettes, ninons, and wave upon wave of' gossamer-like nets are used for the more lavish moods, which quite reasonably assail and, sortie insist, offer more repose to. the practical-wearied woman.

INFORMAL HOUSE SUITS. These are more colourful, diaphanous, and massed extravagantly with lace and feather. House pyjamas can be very attractive in velvet, rich and scrupulously tailored. A suit in grape with wine satin reverS and cuffs, double-breasted with four buttons, _of real crystal took my eye. As also did an informal dinner suit with shrtple skirt cut to train slightly and with ■ a new knee-high flare inserted in front. The jacket with its one button-fastening matched by two on either sleeve, has revers of selfcut in masculine dinner suit manner with the back collar braided intricately in contrasting gold to match the all-over braiding of the two patch pockets. The suit was in black. j