Chat From Paris

Evening Post, Volume CXXVIII, Issue 13, 15 July 1939, Page 19

Chat From Paris

This year's spring wedding will demand one of ' wo extremes —sophistication or simplicity. Every young near-bride in Paris has had it well drummed into her that any attempt at a compromise will be a social flop. Looking over .he previews of certain garments already designed for the weddings of three of our best-known Very Young, I've come to the conclusion that sophistication and simplicity can be identical when cleverly handled. As an idea, of course, it is bewildering but the results are marvellously interesting. The men for whom these preparations are made should feel flattered indeed. But apart from this decking of the bride there are to be jolly innovations. Real flowers and colour abounding are

two of them, and should please those of us who would eliminate some of the usual austerity from a wedding and have it more of a human occasion. THE HAPPY BRIDE. Of course the gown ol classic line j will still demand the rigidity of theartificial bouquet, the unrelenti. ij sheaf of lilies that in hands that are ', truly happy and distinctly nervous j with happiness looks, to me. a little i out of place. ' he happy bride, blush-. ing and lovely, is this year turning i gladly to the designers' suggestion of j the cottage-wedding garmentift^. In j models alvoartv riisnlawn* #Hf*w is all I

THE YOUNG SPRING BRIDE

I the demure dignity conveyed in old prints we remember as children left over from Victorian walls, in which hips were panniered • and corsages tailored to the figure and buttoned high to the neck. Nineteen-thirty-nine gives all this an alertness, a vivacity, a life that- is new and' refreshing. SATIN OR MOIRE. In such models the skirts are achieved—either in. crisp but gracious slipper satin or in the moire beloved of our grandmothers—by wide front panels that spread to side in.a straight j flare, and shaped side and back panels that sweep to a ful] back train centrally seamed. Bodices, stressing the figure's rounded modelling extend their curves to pannier hems, which are often scolloped hugely or looped up with posies or with tiny bows. Sleeves are tailored and to the wrist. Waists of course are fceltless. Veils are undecorated. of voluminous tulle, and bouquets, simple and full of cot-tage-garden colour and charm are set, often, in immense tulle frilling. Truly lovely is the eld fashion >f the broad hip sash, bunched at back into a "bustle" effect, set rather low and falling in flowing folds to a circular train. Bodices, too, are as frequently back-buttoned, and roses take the place of Jie tradi f:onal orange blossom, crowning the head, wreathed, or in posy form, and worn front-tilted, or scattered here and there in the deep folds of the skirt from a leafy girdle. LrACY COTTONS. Getting right away from satin to cotton, we are offered the charm and innocence of lacy little-girl pockets in delicate skirts worn over multitudinous starched trillings of petticoat. Necklines then are high with demure upstanding little lacy frills and sleeves are inevitably puffed. Little white or dyed-to-mateh ballet slippers with their i crossed instep lacings are a charming \ accessory, but. really, those are so |many and various that choice is dim" j cult. For instance you may choose for your head-covering an arrangement of butterflies, newly-alighted. You may choose a rigid little Victorian sailor made all of tulle with staccato frilled i t>rim. fan may choose a flowerI decked snood or a tiny heart-shaped hat made all of horsehair and pierced with, flowers instead of a dart. Or you may wear a softly-pleated coronet of folded satin based with pearls as in the sketch I have made 'for you. This rrodel is by Schiaparelli who bids for the slender line still and achieves it with a new and youthful ; charm. : The gown is softest satin with a crystalline crepe backing that makes for clinging silhouettes. Difficult, but original and very worth trying, is che line of the bodice, cut with side fulliness lifted and gathered into deep T \ splits. V'd again, and still part of the bodice, is the shallow skirt yoke into which is set the flared panels of ;the skirt, front and back seamed and falling to a length of train. Note the charming folds at. throat line and the effect that padding gives the .ipper fullness of the inset sleeves. Tti'e wrist i peaks and the front-looped girdle accentuate still further the suggestion of the medieval (By Margrct Manet.)