Chat From Paris A QUILTED DINNER SUIT.

Evening Post, Volume CXXVII, Issue 111, 13 May 1939, Page 19

Chat From Paris

A QUILTED DINNER SUIT.

This winter is to allow us a convenient and somewhat merciful alternative to the paniered or fuli-skirted gown that, earlier, appeared to be the season's prophecy. Though these, of course, are both charming and dramatic for certain occasions, they are, unfortunately, not becoming to many of us whose figures do not prevent the necessary stock —or, actually, more tall and more slender than stock —figures. The woman who is rather lacking in height is at a definite disadvantage in these bewired and beflounced vogues. But I find that not only are the slendering and heightening materials to be used once more but that many designers are to offer gowns of the simplest with every line to stress height. A LAME MODEL. The train, of course, will be made great use of in these. Schiaparelli, for instance, has an advance model in silver lame, fitted closely from high Empire bodice line to knee, then flaring to hem and to a slight back train coming to a rounded point and achieved by the old trick of the back centre seam. From the shoulders, also, hangs yet another train, of the formal i variety and of the same material, tha' J widens to almost cloak-like proportion ; and sweeps the floor. This concession to the less sylphlike woman has met with great favour and is already being put forward in other collections than hers. . Apparently nothing is to lack embroidery—fine and intocate —even the long-sleeved and full-length theatre coat is to be sleeved and yoked with it. One strikingly different gown for dinner was a long-sleeved bodice of white lace —as webby as may be— cleverly joined to a black crepe de chine skirt cut very high-waisted to give the effect of the Empire gown and silhouette. EMPIRE OUTLINE. This classic bust line is frequently used. One dress, in heavy black crepe, has the bust outlined in narrow black ribbon. The back of the bodice is high. the front decolletage low, and the tight sleeves are rucked up over the elbow. A very lovely garment is a dance frock of white chiffon. This time it is of the full-skirted choice and built over a taffeta slip. It has a long black lace bodice fitting well down over the hipline and long sleeves of the lace which can be rucked up over the elbow if desired. A style worth noting for the older woman is a truly smart dinner gown in black crepe. This has the formal long sleeves and high neckline, but the latter is delightfully outlined with bright blue stones. The heart-shaped decolletage has found deserved favour for the woman of slender bust and delicately fashioned shoulders. One such, of slinkiest "angel skin," is embroidered to accent the bust lines and is girdled and sleeveless. CHIC SIMPLICITY. The gown which I have sketched for you illustrated admirably the simplicity which has found favour in contrast to the picture frock or the lavish folds of the hoopless crinolines, bedecked with flowers or bows. This model is in crepe, sequinembroidered on bodice and edges. The only be-flouncing is the tiny frill which terminates the simple ground-length

NEW EVENING SIMPLICITY

skirt. Sleeves are but slightly puffed, and lifted. Note, however, that the current vogue of wide cut and heartshaped decolletage is made use of. The colour is oyster grey embroidered with dull gold.

Very well worth taking note of is the growing enthusiasm for the quilted dinner suit.

This is an actual three piece. The

skirt, in clever quilting that gets very much more open towards the hem, is cut with a straight flare and slight back train. The jacket is closely tailored, the straight coat-sleeve lifted slightly on the shoulder.

The old-gold model that 1 greatly admired was zip-fastened from clipped waist to neck so tightly as to give the effect of a brisk little basque, and finished flat without collar. Under is worn a fitted bodice, seldom contrasting, and cut with low decolletage.