MAINLY FOR WOMEN

Greymouth Evening Star, 27 October 1931, Page 3

MAINLY FOR WOMEN

ITEMS OF INTEREST

(Notes by

Marjorie)

EVENING DECOLLETE.

ONLY MODERN NOTE.

No matter what period trend an evening gown may reflect, decolletes are strikingly modern, and charm resides in these sharp contrasts (writes a, London correspondent). The most characteristic one of the season is the bare back and shoulders with the front built-up close to the neckline. These high fronts may be pointed or square, attached round the neck by fabric or jewelled necklaces, or they are maintained by straight and crisscross bracer lines. Separate shoulder straps are on the decline and more, generally replaced by those cut in one with a bodice. This epaulette line frequently, tends to high backs, which convey intricate designs in cuts and slashings similar to the tailored trend. Wide scallops bring a new border theme to low square and pointed decollates, also a clever swathed line endorsed by Lyolene offers a novel treatment. This swathe is executed in white on a black gown at the base of a low round back decollete, the front being high showing a black and white swathe crossing from the bodice to knot and hang in tie ends over the bare back. The effect is intriguing. Clever scarves and capelets come to the rescue of daring decolletes and transform them in an Instant to modest high neckline versions. The “wide shoulder” formula in coats and dresses likewise Involves evening decolletfes. These are the contrast executed for those who resent bare shoulders and those who need width to lessen a broad hipline. Strans tipping the point of the shoulder blade serve the purpose as well as berthes and fichus, but these are merely applied as a medium to cover the upper arm. They are tiny affairs sometimes interpreted by an “en forme” ruffle of lace widening over the shoulders and narrowing off at both ends where they become the bodice. Both little puff sleeves and square or round decolletes are more often observed on demure gowns for jeunes filles. , The years when the Empress Eugenie spread the cult for elaborate fashions have had a certain influence on our clothes, with flat movements simulating drawn back effects gradually leading us onward to a later decade. On the other hand, some Paris designers react to a more rational interpretation of clothes worn in the latter part of last century and the beginning of this one. While each distinct phase is being discussed, it seems that the fate of the straight, slim line fitting accentuated by inernsted bias sections is being weighed in the balance. Do details suggesting crinolines, bustles, basked bodices, the return to a feminine curve in the back, multitiered skirts, ribbon sashes, and short evening gloves, lockets and pendants suspended from ribbons, muffs, and curls, tend to a romantic revival? No one will be compelled to follow the picturesque lines. One will be able to pick and choose frotn an ex tremely varied collection of evening gowns. Nevertheless, modern interpretations of period styles are t charming quantity due to urge a fresh mood with smart women.

blouses. COTTON AND SILK. Short tunic overblouses are among the fashions of summer and have replaced the tuck-in blouse of winter, which was not as becoming nor as easy to wear. Many of the new tunic blouses are worn instead of the more ,;ommonplace jacket, for the blouse with contrasting skirt is very much in the mode. Other tunic blouses arc designed to accompany the coat and skirt of heavy-weight, dark silk, and thus complete the three-piece ensemble.

Cottons rival silks this summer, and oygandie bioderie anglais, and handkerchief muslins and voiles are among the popular fabrics. These may be worn, not only With linen and pique skirts, but with such silks as crepe do chine, marocain, satin, and pussywillow. A new semi-evening ensemble for informal wear is composed of a beige or white broderie anglais blouse with a black satin or crepe, de chene skirt. Beige and parchment lace is also used for the evening blouse.

While the tunic is most fashionable and suited to most figures, there are other styles introduced this season. The surplice blouse, which ends at the waist, where it is tied with a sash, is smart, and the peplum blouse, ending just below the waist with a frill, or flounce, has its devotees. The waistcoat blouse accents the tailored line, and is more successful in silks than in cottons. It usually has long sleeves, the cuffs being linked to carry out the mannish note. Silk and cotton piques, plaid patterns in cottons, taffeta and silks; and checked and striped ginghams are all favoured for the new blouses, so that the range of choice is a wide one. The blouse or tunic may be as gaily patterned as the wearer pleases, but it must be remembered that the accompanying skirt should be plain, while accessories, such as bag and hat, may either match the skirt, or be made of the same fabric as the blouse—a smart idea this, and one which allows for a most effective ensemble. SLEEVES ARE “TRUMPS.” Dame Fashion has laid her cards on the table and declared sleeves “trumps” for the coming season (states a Londoner). The centre of interest has shifted from the waist t? the arms, and every sort of frill or pouff that has ever figured in fashion is being used in some position on the newest sleeves. Frills on the shoulders create the fashionable width and accentuate the slim waist, but that is not enough for some designers, who have put frills all down the arm, or round the elbows, or on the wrists. “Trim your sleeves” is the slogan of fashion for 1931-1932.

FILM STAR.

PRE-WAR SILHOUETTE.

FASHIONS SUIT ALL FIGURES.

Crinoline styles in evening modes are very remote, though smart women are already discussing them together with bustle interpretations (writes a Paris fashion expert). The general opinion is that the former are unpractical, while it seems impossible to deny that the latter mood will have a decided influence on the 1932 silhouette. Surprise is felt by one of the important Paris designers at the success of the long draped basque bodice defining a row of paste buttons down the centre front, and a ruffled skirt line. The full-skirted trend of the “robe de style” is admitted, but with the approach of modernised 19th century ideas the one most apparent as a standard is the Slightly moulded silhouette. This carries graduated width into full hems and a more or less supple tendency above waistlines in short, a silhouette influenced by the 90’s and that line from pre-war fashions which is adaptable to almost any figure. It seems that these lines have impressed the corsetieres who are launching straighter fronted corsets cut higher in front, a slightly curved back being indicated and & shorter basque throwing out a hJat for more shapely hips. Jean Patou pursues the sim.’i.k«t style in bodice lines for youthful modes of satin, white, the new brown, and a conspicuously delicate shade of sulphur yellow. These are evolved on the higher ankle and full-length skirt lines. Some of the former convey uneven hems through pointed effects, but the iuxl-13 trend is patent throughout in a moderate fullness distributing a gentle fluting frequently produced by gores. This new line banishes tight effects over the hips, but it is cleverly handled in the 1932 manner to correct amplifications that bloused over bloomers and petticoats.

ALIENATION CHARGE FAILS. LOS ANGELES, September 3. Miss Edwina Booth, the actress who starred in the film “Trader Horn,” has been absolved by the Los Angeles Court of a charge of alienating the af fectlons of Duncan Renaldo from his wife, Mrs Suzette Renaldo. Mr Renaldo played the lead in the film, and Mrs Renaldo alleged that while the picture was being made in the African jungle Miss Booth played the “vamp” and “stole” her husband’s love. She claimed £12,000 from Miss Booth as compensation for the alleged loss of her husband’s affections.

Miss Booth, a blonde girl of 19, was a Hollywood “extra” before being chosen to play the African white goddess in the film, based on the life of “Trader Horn,” who died in England recently. She had many hardships while the film was being “shot.” In addition to being bitten by insects as she crawled In the grass clad only in a monkey skin, she contracted malaria and dysentery, fell from a tree, and was stricken by sunstroke. For many weeks doctors despaired of saving her life, and her health is stated to be broken by her ordeal. UNUSUAL DIVORCE PLEA. LOS ANGELES, September 3. Alleging that her husband, Rex Lease, the film actor, ridiculed her studies in philosophy and painting. Miss Eleanor Hunt, the actress, is suing for divorce.

She also alleges in her petition that her husband was cruel to her

Mr Rex Lease is 27, and began his film career in “The Woman Who Sinned,” and he has since played in “Moulders of Men,” “Broadway Daddies,” “Candy Kid,” “Stolen Love,” and “When Dreams Come True.” her'pride. It has often been stated that in certain matters the poor are prouder than the rich. This little incident seems to substantiate the belief. A poor woman received some new underclothing from one who helped the family. In thanking the donor, the husband said: “My wife’s very glad io have those clothes. She says that now she will have something to hang on the line on Mondays!” ,*