MAINLY FOR WOMEN

Greymouth Evening Star, 9 April 1932, Page 3

MAINLY FOR WOMEN

ITEMS OF INTEREST

(Notes by

Marjorie)

SHEATH-LIKE STYLES. (By the Hon. Mrs C. W. Forester). A first siirvey of the early modes impresses iis more than ever with tlie necessity of slimming. Undoubtedly every line of the new frocks clearly indicates the actual shape of the figure. The new mould of form follows nature’s line, just as the best hats fit the head. Cut first, assisted by trimming, help to accentuate this new phase of the mode. It is in detail where novelties yvill keep continually creeping in. Notwithstanding further possibilities in this direction, the moulded, sheathlike form is the present ideal for afternoon and evening elegance. It is very daring, this bold venture accentuating slenderness by the use of every intricate means of shaping to attain th© desired result. Horizontal lines are best for the young, but tucks and'’’ embroidery for 1 the fuller figure should take the long, slim downward movement. The waistline is a moveable affair, a drdss cdn follow the high or low road, and be equally modish. Yokes and neck-lines also determine the effect of position, and aid towards the attainment of grace.

The sniart woman' who is tall and slim can exploit charmingly the new square shoulders; another clearly defined fashion point. It is this width of shoulder that gives the idea of a more fitted waist. This phase of fashion is possibly more marked in the new tailored suits of cloth, velvet, or silk than in actual frocks. They have a boyish air, which is accepted as mor© youthful. The older woman will probably choose the long, narrow coat, without t6o much of the inward curve. Still, to' every age' the wide shoulder is becoming at least for daywear.

Similar clearly defined frocks are also the rule for dance and dinner. Drapery, frills and flounces are used lavishly, but the foundation is fitting and shapely. Lace, chiffon, georg.ette and romaine can all blend happily together:- There is a particularly pleasing model in a white creperomaine, marvellously moulded to the figure, but the fluffy feminine note is supplied by godets of deep coffee lace. On the corsage is a softly-draped fichu of the same —the sleeves hang gracefully from above the elbow.

Proportions matter largely in the spring silhouette. Every model this season seems designed to suit the “average woman rather than a distinctive type. This, possibly, is very helpful to English-wonien, who have a great objection to looking remarkable in their clothes, yet the new models at their best are distinctive. Such styles are really required in clothes, for the outstanding welldressed “chic” woman will dominate and survive any fashion, and so she will not grudge her average sister a small triumph! All the English dress movements are calculated to solve the difficulties that beset the average woman dressing on a limited income. The dress designers have created an all-round, pleasing and. wearable type of model suited to work and play. This should make success certain, foi’ the Englishwoman was generally quite incapable of altering her style to suit a special mode, whereas the Frenchwoman can entirely transform face and figure to fit in with any exaggerated new fashion. The evening decolletage strikes a distinctive note that is a becoming on© for the most part. The barely covered back remains smart for the special model, but the more general way is' to add drapery, though on the low side, folds of fabric that extend ■to the armhol© again accentuating the >vide shoulder. ' A good many models show the short train, which is often only an extension of the pleasing back drapery in the guise of a cascade of the fabric,, or lace flounces placed in a similar way. There is a pronounced feeling for the fishwife style, culminating' in the cascading or looped back movement — the nearest approach in 1932 towards the bustle effect. This is graceful, feminine, and reminiscent of the vogue bf the ’seventies. •

Many frocks just clear the ground, and have a slightly godet flounce at the hem, which balances' the width of shoulder oh' the berthe-capelike decolletage. Such a simple type of model can have a waistband or sash placed high or low, according to the individual. This type of frocks in inexpensive fabrics such as certain laces and nets, is very useful for the innumerable little . entertainments —bridge and cinema parties, and so on —for, apart from possessing a little velvet or fancy lace bolero of their own, are good for wearing under the fur coat. They can have a clear little

lace and straw or ribbon caps that always looks so well with a sort of semiformal toilette of; this kind. Printed fabrics are also successfully employed for such models, and the style provides a good' means of utilising our printed crepes of last year. Cotton-lace is ’ another young ■' and novel fabric for inexpensive creations. In fact, I think later on we shall see some attractive afternoon and evening frocks made up in organdie and :all sorts of printed 'cottons.

DRES§ DISPLAYS. SECRETS OF TWO CAPITALS. Will pink be th,e craz’e for this year’s Courts? writes a London fashion expert. The part of Mrs Baldwin’s drawing-room which rapidly developed into a debutantes’ corner at her exhibition of British silks was full of the most exquisite flesh pink, wild rose and old. rose shades. A famous dress designer will be showing a wiltt rose Court gown in his spring collection. Whatever colour predominates there is no question about the beautjr of' (he British fabrics. The debutantes were fascinated by satin with a dull surface. A striking model at' fin exclusive parade was a purple coat over a eoral-red dress. Coral anc| black were effectively shown for evening. Winged sleeves struck - the picture note in many semi-formal evening gowns. “Embassy” was a fitting name for a beautiful trained black featin frock, with decolletag© of fleshpink satin and coatee. Another attractive model was called “Quelques'Violettes”—a charming lilac organdie patterned with deep Parma violets anil'equipped with flower muff to match. “ I'have of late the importance of the corselet-skirt, as well as‘the pinafore, because of the different tops, and also the cape, which are a means of providing change. Take, for example, the black velvet corseletskirt.''This is shown “served up" with many different tops for day or evening. Clusters of flowers and fruit have been evolved in hovel materials in the millinery salons for tfie hats of spring and summer. It is new tv have a cluster either side. On a black horse-hair hat a red cluster of flowers 'brie' side and green' the other looks most decorative.

Some' of these clusters are made of horse-h'air as ethereal as gossamer. Others are in waxed linen.

IN PARIS.

Gold metal buttons appear in military form' on lainage frocks where they join force's with braids and epaulettes, writes our Paris fqshion cdrrespondent. They strike a uniform note opposed to the hew method in

disposing colour contrasts when onesided effects worked through the tops of dresses to cease below hips occur. Yellow on' black is on© example. Another contrast brings n fresh note when orange and black stripes pass through a bright green blodse worn with a grey mixture woollen suit.

Black on a twine-coloured beige ensemble is interesting as a facing for revers and lining of the coat an<j serving as a belt on the beige frock worn with it. The theory of accen tuating slimness through breadth in shoulders follows in daytime modes, epaulettes, scarves and sleeves frequently offering mediums for this reaction against sloping shoulder lines. White feathered, trimmings replace fur for wide square cuffs’ and a collar trim on smart black coats worn with skirts and blouses. These feathers are of the barn-yard variety, packed closely together in. white and a pale blue-grey. They produce an excellent effect. Worth fakes a leading part in supporting the fine woollen trend for evening gown's, one black gown being trimmed ' with whifa angora wool'embroidery. 1 "

Irish crochet 'lade comes into the fevening mode, as well as' other types of heavy white lace in Vofjton, which medium is likewise urged in a hew cotton damask. ‘ ' .

The line in general is slim, and fulness in skirts ’is conveyed more into the back.