MAINLY FOR WOMEN
ITEMS OE INTEREST,
(Notes
Marjorie)
LA MODE FROM DAY TO, DAY. (By Diana Dane). The transparent hem is a feature of the vogue for the longer skirt, and so attractive are some of the new gowns thus treated that they deserve short descriptions. One of the most charming is an afternoon frock in caramel colour taffetas, moulded to the figure as far as the waistline and billowing out below it into innumerable flares. The bodice fastens down the front with blonde buttons, and’ the short V-shaped neckline is finished with a narrow folded fichu of blonde net. Net ruffles edge the long, fitting sleeves, and a deep transparent net hem brings the skirt to within an inch or two of the ankles. Another version of the transparent hem as applied to day dresses is seen in the model in cherry-red georgette over a short, slim foundation of matching silk. The slip reaches but a few inches below the knees and is as tight as our frocks were a year or so ago. Over this billows a skirt of the georgette, cut in deep transparent petals the tips of which brush the ankles. The bodice is likewise cut in petal points over the skirt, the tip of each point coming well down towards the hip-line.
An evening frock may dip almost to the ground at the back and front, leaving the sides only a little more than knee-length; alternatively, it may dip at each side, leaving back and front quite short. Again, it may have a transparent hem, in which case a pretty model to copy is one in hyacinth blue tulle —layers and layers of it, fluting out from the waistline like the petals of a flower. The lowest tulle tier is perfectly transparent, but the airy fabric is lightly wired so that it stands out steadily without the aid of a foundation. The little net jacket has established itself firmly among the dainty accessories in at least one famous collection. In gold or silver mesh, it is cut like a short sac coat, and it may have long sleeves or no sleeves at all, it depends whether it accompanies an afternoon dress or an evening one. For day wear* however, it is usually expressed in silk or mercerised net with light lines of metal thread running through it, much after the manner of the modern jumper.
The draped gown, should be worn with a coiled coiffure. This appears to be the decision of one important French designer whose mannequins wear their long hair demurely parted in the centre, drawn low over the ears and coiled loosely in the nape of the neck. This particular artist shows more draped gowns than anything else, and his long-haired mannequins look so distinguished in his exquisitely draped models that one is bound to admit his decision is good. The blouse-frock is among the most practical of the toilettes for morning wear at home. The skirt, smartly cut, short and slim-looking—though plenty of fulness is introduced by means of inverted pleats—is made of suiting in one of the numerous brown shades or in grey; alternatively, it may be in a light, loosely woven tweed or hopsack, or again in black and white check or blue and beige stripe. To accompany this is a selection of blouses, each one harmonising perfectly with the sMrt, but each one quite differently from the others. Thus is a really practical fashion brought smartly up to date, for the ensemble in each case appears as a complete frock. One of the prettiest of the new belts for a day frock is a shapely little affair the lower edge of which just rests on the hips. Sometimes it is narrow, giving the effect of a “medium” waistline; sometimes it is quite wide, suggesting the corselet. Any width may be exploited, according to the figure and the length of waist which best suits it. THE PORTRAIT-PICTURE. The modern photographer often terms himself “a maker of portraits.” He might, with justice, be called “a maker of pictures,” for he has brought his art almost to a state of perfection. His appreciation of the sitter’s good features is amazing; his slurr-ing-over of the not-so-good features is kindly; his finished product is a beautiful picture as well as a “likeness.”
To assist the artist in producing the best results, it is necessary to consider several things before visiting the studio. Study yourself in profile, in half-profile and full-face. Examine neck and shoulders at the same time, both in day dress and in evening toilette. After careful survey, decide from which angle you look your very best. The photographer will study you, also, and will probably suggest the pose, but you must be satisfied yourself that it is one which best pleases you. Dress is very important. Avoid the perfectly new gown; avoid also anything that is “ultra.” The most becoming frock in your wardrobe is probably the one you have worn most, simply because you like it best! Wear it, especially if it is in black, white, or one of the soft printed fabrics which come out so delicately in a photograph. Do not have your hair washed immediately before the sitting; it is better to give it a day or two to “settle down,” when it will regain its natural look and come out better in consequence. The photographer will decide whether or not a brush of powder will enhance its natural beauty for the purpose, of the camera.
Remember that “make-up” gives a hard look to the pictured face. Avoid rouge, therefore, and confine yourself to a light dusting of powder which will serve to soften the features, adding a suspicion of colour to the lips if they seem too pale. If your hands are not very beautiful, do not allow them to appear in the picture. It is better, on the whole, to have a head-and-shoulder’s portrait, which will not be so likely to “date” as the half or three-quarter length pose. finally, do not wear a hat, however becoming it may be. It will date the photograph—and you!—more than' anything else. And above all remember’ to cast dull care away. Think only of cheerful, happy things all the way to the studio. And hold on to them all the time you are there! x Thus Will you help the “maker of pictures” to make a perfect picture of you! —Mary Tudor.
GLASS TABLE DECORATIONS. (By Faith Foster). There is now no need to repine that the exquisite glass trees and plants are beyond your means. All the necessary petals and leaves with which to make your own table decorations are available at a cost which is absurdly small as compared with that asked for the plants complete. To the inexperienced eye, these glass oddments may appear a little unpromising; but you will soon learn how, with the aid of a little wire, you may work up the tiny blue, pink and rose blossoms into closely set hyacinths, or use them as single flowers in a big Solomon’s Seal, or pose them as parts of a great delphinium. The joy of experimenting is that you may achieve a far greater variety than is exploited in the ordinary bought examples. Most attractive are the little balls of orange-tinted glass that go to make orange-trees; lovely are the fantastic and quite unbotanical plants that are to be built up by means of carefully wired bits of rough coral, allied to leaves and stems of. pure white glass. Happily, the leaves are made in a variety of shapes and sizes so that a wide range of flowers may be attempted. Delicately tinted flowers that suggest convolvuli are exquisite for working up into wreaths for the frames of small mirrors and photographs. None of the glass products is liable to fade, so that the decorations, once developed, can be relied upofi to prove permanent. Small glass pots, solid save for a small hole in the centre into which the wired stem of the plant or trunk of the tree is fixed, are sold for use with the work. Pots of glazed pottery are also available in tiny sizes.
A HIDE AND SEEK WEDDING.
(By E. M. Almedingen).
Most wedding feasts are distinguished by dancing and singing, by eating and drinking, but to a Siberian tribe these things are secondary details. The great glory of a wedding is the time-hallowed game of hide-and-seek. Should the young man fail to catch his chosen one, the marriage may be postponed—sometimes for a year, sometimes indefinitely. This, however, happens very rarely. In most cases, the bride tries to play into her groom’s hands, though he is surrounded by obstacles. The ceremony takes place in the tent of the bride’s people. The tent is huge, with a wide central room and countless little compartments giving out of it. Sometimes there are as many as thirty odd little cubicles, all separated by loosely hung reindeer skins. At the appointed time the guests arrive, and womenfolk are given willow rods for a definite purpose. When the bride and groom come in—to the accompaniment of loud drums —women guests quickly hide themselves behind the reindeer curtains and a signal is given to start the game. Then the fun begins in real earnest. The bride vanishes into the first cubicle and the young man flies after her. He may run quickly enough, but. his trouble is that women guests lie in waiting for him in the darkened cubicles; they pounce on him and belabour his shoulders with their willow rods, while no one hinders the bride in her flight from one compartment to another. Sometimes reindeer skins are flung under the man’s feet; he stumbles, falls, picks himself up and runs on. The game goes ahead —'accompanied by drums and deafening shouts —till at last the young man catches his bride before she has had time to run back to the living room. Together they come out, and the company expects them to quaff glass after glass of steaming hot tea—-not quite an appropriate beverage after a spell of such breathless running!
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Bibliographic details
Greymouth Evening Star, 18 April 1929, Page 7
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1,691MAINLY FOR WOMEN Greymouth Evening Star, 18 April 1929, Page 7
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