London Fashion Notes Specially Written for "The Post." NEW TRENDS.

Evening Post, Volume CXXVI, Issue 50, 27 August 1938, Page 19

London Fashion Notes Specially Written for "The Post."

NEW TRENDS.

LONDON, July 30. "Glorious Goodwood" set in the heart of the Sussex Downs is the perfect ending to the London social season. The informal atmosphere of this celebrated race meeting was most aptly described by King Edward VII as "Ascot without the starch."

Fashions vary according to the weather, and, when seasonable, garden party frocks of the country type predominate. Chilly or uncertain weather ■will bring out some of the earliest autumn fashions. to make their first bow in public, before th^ir wearers finally get into play clothes for the holiday month.

Of the new clothes seen recently I ■was enchanted with a collection by one of the leading houses. Exquisitely tailored, but with all the variety and originality of the "dressmaker" suit, the designer has produced street clothes that are picturesque, but entirely practical. Last week I mentioned the full-flared skirt. It was confirmed in this collection on both top coats and suit skirts. You must learn to walk and swing a graceful hem, for these skirts are youthful but need poise, and are often sixteen inches off the ground. For the timid there are straight skirts, and, incidentally, the short woman should choose a straight skirt, but these have cunning pleats and usually are 14£ inches off the ground.

Suit jackets are snug on the hips, and the length must be decided by the type of skirt —just as long as the circular skirt will permit. . Most of these are waisted, seamed, and shaped over, the hips, with one button to fasten, or double-breasted. The latter were given a new look by the use of ten buttons—five each side, starting high up. In striking contrast were some town suits with pencil slim skirts, close-fit-ting jackets buttoned high with tiny fur collars, and circular basques flaring on the hip line. SHORT TOP COATS. "Husky" top coats'* gave a new ensemble idea. These in camel-hair fabrics and plaids contrasted with the suit, being slightly fitted and just cover the hips. This extra coat often furnished the sharp note oft colour contrast as with a suit of amttthyst the top jacket was of red angora. "Pigeons' blood" red was the name given to the favourite red in this collection. I was told that the woollen manufacturer had specially dyed many of his fabrics to match an heirloom pigeon's blood ruby, and it certainly is a wonderful colour. Very smart was a suit of black fine tweed with the pigeon's blood red "husky" jacket worn over it. A square crowned black hat with its rolled-up brim draped with black veiling finished with a bow at the back was reminiscent of pictures of Queen Victoria out riding, only the hair in this case was bushed up into curls on the top of the head instead of cascading down the back. Other details of workmanship noticed was the number of yokes or yoked effects created by tucking or seaming the materials. Pockets on skirts were very near the waist-belt, and a favourite trick with checked or plaid fabrics was to have the panel bapk and front J

going the reverse way of the material, particularly in the straight skirts which often have concealed pleats in the panel. THE TUCK-IN BLOUSE. Exquisite little blouses with details of tucking, stitching, or pleating made in a gay coloured contrast to match the coat lining was another feature that added enormously to the soignee appearance of these new models. Other blouses were of cravat silk beautifully cut, but yery simple- in appearance, and, without exception, they were all tucked into the top of the perfectlyfitting skirt bands. Cyclamen-pink crepe, for blouse and coat lining of. a royal-blue suit was the sort of colour scheme that appealed, or cerise blouse and lining with an (amethyst suit. The success of the Queen's lovely gowns in Paris has added to the already popular trend towards picturesque evening modes. Full-skirted designs b&ve been adapted to such varying materials as tulle and pique, and the very decollete model or the highnecked dinner gown. I have sketched one of the latter, which has been enormously successful both in London and America, where they are very fond of a formal gown that has a high neckline. The colour scheme is navy and silver. The bodice of fine silver lace and the wide skirt of navy slipper satin, the blue showing through the lace of the bodice giving the fashionable heart-shaped moulded line. The brief sleeves and demure neckline finished with narrow band and bow to match the skirt. Fine gold lace with black satin would look well, or palest beige or creme silk lace for those who do not care for the metal effect. ■ B.:RUTHSIBLEY. ,