MAINLY FOR WOMEN

Greymouth Evening Star, 28 October 1933, Page 9

MAINLY FOR WOMEN

ITEMS OF INTEREST

CORSELET SKIRTS FOR ECONOM

(By a Dress Critic).

Much magnificence in evening and afternoon clothes is featured at the dress shows, but it is well to consult the needs of practical women who can not avail themselves of those fascinating fur-trimmed, long, sleeky trained models. Therefore, I will come- at once to what is best, described as the “little” dress, those semi-smart becoming creations worn at lesser entertainments. . Fabrics such as crepe, satin, _ silk and lace, especially in black relieved with white or grey, are easy to wear if cleverly made up. The best silhouette is tall and slim, with the. wider shoulder-line; in fact, a general revival of 1910 fashions, but in their modern form—the demitoilette, cinema, or “little” dress should be of instep length, to be wearable in Tubes and omnibuses. Women to-day are very frank, about their expenditure, and arc also proving more and more practical in their selection of suitable clothes. Much as we can admire those graceful trained skirts and elaborately trimmed tops, most of us have to turn our attention chiefly to the more every-day sort of clothes! Dull-faced crepe or satin may be relieved with “shine,” and it of black is often made up on two sides of the stuff.

For afternoon and demi-semi-frocks the long-fitting sleeves with deep gauntlet cuffs and decorative buttons are most becoming >in their newer form. Sometimes a simple black frock has the same buttons, a little larger in size, to fasten the frock all down one side. In this case the neckline can be boat-shape, and finishing with narrow scarf-drapery, the ends falling on the shoulder. Such a style, worn with a piquant turban and halo veil, is just the thing for cocktail time.

Even in the princess semi-fitting frock the line of the longer waist is “lifted” in front. This allows of more play to the hips, and a general air of nonchalance that assists in modernising what was always a graceful line. Yet the actual fitted moulded princess robe is never easy, for such a skirt should be slim and tight to the knees and clinging with the fulness worked away into one of the marvellous sleeky trains.

Nothing looks better than the simpler black dinner frock in velvet, with long sleeves, finished with this slim train. But it is not every-evening-wear.

The corselet skirt is a pre-war mode that has advantages for the restricted dress allowance, inasmuch, as it allows of greater variety. Both in black satin or velvet the corselet skirt cut just to clear the ground, can be worn at smart afternoon affairs, also for bridge, cinema and dinner. One well-cut skirt can have three tops at least. For day a decorative creamy lace or quaint embroidered blouse with a small cape, or bolero, of the black fabric trimmed fur can be worn. For a cinema a simpler satin top with black-and-white neck drapery is good; whilst, for dinner a sequinned decolletage, or swathed folds of coloured crepe, which may be worn with a black evening wrap or a. sequinned coatee, suggest themselves. A wellcut corselet skirt in good fabric is worth having. Lacquered lace _is altogether a lighter affair, and in black and the new dark shades is very practical for “The Dansant.” Also there are women who look far better in light glitteiing materials than “matt” surfaced fabrics, which are more difficult, as they depend chiefly on cut and line. Everyone has, or should have, then particular style and do justice to it! Corselet effects provide us with practical changes, whilst for warm autumn evenings many women, tiavelling about, will rejoice' in simple evening or semi-dressy frocks in tire lacquered or varnished fabrics. Lace and silk both take on a different aspect when shining. Coarse dull designs in coloured laces can also look well when trimmed with varnished silk or chiffon. Some of the smartest little new frocks are of lacquered spotted net in black, with a cowl collar, deep gauntlet cuffs and wide swathed belt in dull-surfaced white satin.

PRINCESS ELIZABETH.

"KING A DEVOTED SLAVE.”

LONDON, October 12

“Princess Elizabeth’s large court holds no more devoted slave than the King,” writes Lady Cynthia Asquith in a book, entitled “The Married Life of the Duchess of York,” published with the Duchess’s approval. The author adds: “Among other liberties, the Princess has been known to sweep all kinds of food off his plate and give it to her little dog. Grandfather and grandmother are boon companions. Once, when she was discovered flat on the floor under a sofa, the King explained. 'Wc are looking for Lilibet's hairslide.’ “Princess Elizabeth is not allowed to feel the burden of Royalty. She thinks that the cheers she receives ai e greetings naturally' given to litLe girls. Her most perfect plaything is Princess Margaret, who already shows promise of character and charm. She possesses a remarkable talent lor mimicry. She loves music and she has a, faultless car. She amazed Lady Strathmore, when only 11 months of age, by humming ‘The Merry Widow’ waltz. At the age of two she can sing perfectly any song she hears.” Lady Asquith adds that the Duchess, on wet days, finds time to revive her Scottish skill at scone-making. “She is known as the prettiest Royal lady of Europe by the chief American dressmaking firms, who send representatives to make notes of her dresses at important, functions.” she adds. “The Duchess has never been bobbed, shingled, bingled, or windswept, yet. she has never contrived to look old-fashioned.” Lady Asquith relates that the Queen, stooping at the cot in which Princess Elizabeth lay, once said: “I wish you were more like your dear little mother.”

THE AUTUMN OUTFIT.

(By Hon. Mrs C. W. Forester).

It is the same with all the modes of the moment. The actual silhouette for simple styles appears at first as if it had not greatly changed, but on closer investigation wo soon realise our mistake. The well-cut smart overcoat is one of the very necessary garments we require at once. Like the hat, the topcoat must be there for travel and sport. Last, year’s coats do not look a bit well; even the mackintosh requires a new presentation. The majority of the tweed-ulster types of coats are belted, which is a vogue young and businesslike-looking, especially for the slight or fairly slight figure. The correct adjustment of the belt adds style to the new models. There are many subtle details in trimming. Buttons are important, and chromium fastenings of all kinds look well. Kid or leather belts are not quite so new as the fabric one with buckle of chromium to match two or three big buttons of the same attractive metal.

The scarf-collar, or cravat-stock combined, is new. A beige tweed topcoat seen at the North Country meetings had a narrow, scarf-collar of thin brown spot velvet bordered with small shaded coq’s feathers, a turban of velvet matched, and on the crown was perched a small coq-feather mount.

Other collars of soft short furs form a cravat that can be worn open or closed. Some collars of the fabric are unlined, and softly draped. Others form a small V. in the front, and drape softly round the throat. I saw a big travel-coat of beige vicuna cloth treated in this way; the belt and cowlcollar were of softest dark brown kid, and large patch pockets were trimmed with the same.

Many cord or velveteen coats are cut in the new longer three-quarter length, made up after the old “swagger” style, only with a straight collar and ends of fur; or of fabric bordered with fur. These cravat-collars are certainly a feature of the new autumn coats, and can be chosen to suit the individual. Collars mark the new models, quite as much as sleeves. VARYING LENGTHS. Dressy coats, especially in the best furs, seem inclined to be most popular when of full length, showing no hem beneath. Rougher models in fur and fabric retain the comfortable three-quarter “swing.” There are some well-fitted slim coats a little over the half-length which I think is smartest for the semi-fitting-tailored coat, with a slim narrow skirt beneath.

Velvet coats of the new threequarter length show a tightly-fitted tunic of satin below. Black velvet over a white satin tunic looks charming, and here the skirt should be worn just above the ankle. The dressier types of skirts are worn distinctly longer than those in tweed and for sport. This rule makes for good style. It will not do for anyone to lay down hard and fast laws about coat sleeves. Some houses of note amuse themselves with pads and puffs, whilst, as is the way of such things, violent reaction movements declare for the sloping shoulders. Fairly wide sleeves are in any case usual, especially those with the elbow shaping inwards at the wrist. Such shapes are good with ultra-high collars in fur or when a cuff of fur is used. Some of the big new cosy wraps show waistcoats with deep cuffs and enormous collars of fur. For boat or motor they are practical and important-looking. Quilting is used effectively on cloth-coats, as a collar, cuffs and pockets of a quilted satin in red or grey look wonderfully smart when adorning a plain but heavily ribbed blue serge. Where a basque is cleverly worn the wide shoulder is almost a necessity, for by width at this point the hips can. even with a fluted basque, appear quite slim. This is a fashion point I continually stress, as it is such a helpful one; added to which, whatever fashions come and go, few of us have met women who do not yearn to look as slim as nature and the present vogue permit.