MAINLY FOR WOMEN

Greymouth Evening Star, 26 February 1935, Page 7

MAINLY FOR WOMEN

ITEMS OF INTEREST

CUT FLOWERS.

DESIGNS IN ARRANGEMENT

A profusion of cut flowers lies upon the tables, for we are giving a housewarming. party, writes a correspond2nt in’ an overseas journal. In the pantry and here and there in the rooms there are vases, and water runs fresh and cool from the faucets. Is the problem of decoration solved then, by the presence of these three factors, flowers, vases and water? By no means. The flower pictures have yet to be painted. Blossoms thrust higgledy-piggledy into containers give as little sense of beauty and home as do china and glass displayed in a salesroom, where they are merely unrelated items not yet harmonized with daily living. Every arrangement of bloom cut for the enhancement, of our working and playing hours can be a design in lines, shapes and colours, □f which the materials are the growing form from hothouses, gardens, fields or woods.

Those who have studied flower paintings and still-lifes in museums and galleries and the competitive arrangements in flower shows have a head-start in steps toward achievement. But even they, however, may stand confused before the mass of stems, leaves and petals awaiting such selection, combination and harmonisation in vases as an artist gives to a composition he plans to present on canvas.

There is, however, a means of bringing order out of confusion. This is analysis. By its means the elements of bloom awaiting organisation isolate themselves and assert their particular functions and their relative importance in the project. Thus we come to understand which are the individual factors that may be used-in building the picture and where in the mass of growth given us to wpr.k with we can find these factors.

Through analysis we discover that the elements of which a flower picure is composed are: —

1. Stalks, stems, branches, and their ilk, which by reason of their interesting curves set the pattern of the composition. 2. Flowers considered as forms, which because of their great variety in shape, ranging from pompoms to bells, trumpets and spires, enable the composer to achieve an interesting contour for her bouquet and to fill her spaces in fascinating ways. 3. F/lowers considered as pigments with which can be painted colourful still-life. '. t 4. Buds, berries, seed-pods and leaves, . which animate the composition by telling the story of growth and fruition.

5. The container, which is an important feature of the entire design and must be chosen because it complements the rhythm, the colours and the textures of the arrangement and because its apparent weight is suited to the dimensions of the bouquet. Moreover, if a period style of bouquet or a national one is attempted, the container should be chosen to reiterate the idea.

Before a single stem is put in the vase, the arranger, to whom we shall refer henceforth as the artist —must visualise the ultimate appearance of the composition. Some people will find iit helpful to sketch on paper the contour desired, the masses of dominant colour, the quickening patches of related hues, and, finally, the accents which will cause all the colours to sparkle. Others can form visual images which are a sufficient guide without transcription. But two things must be remembered. First, the material is perishable and must be handled with assurance. Second, nothing is more disastrous to a satisfying final effect than sprays tucked in here and there as afterthoughts. Having preconceived her design, (he artist can choose wisely her container, as a first stefl to making that design concrete.

FLO VVER CONTAIN ERS

The kind of importance that vases have in the complete design of a

flower piece is that of expressing the arrangement, never of expressing themselves independently. Therefore, except for use in certain period effects —such as complete French or Victorian reproduction—it is wise to eliminate ornate containers.

Transparent glass is attractive for light, dainty arrangements with pretty stems' that do not become slimy in water. Pottery and certain modernistic massive glass has power and dignity ns a support and complement for heavy blooms with fibrous stems, coarse leaves and pompom heads, such ns chrysanthemums. dahlias, and zinnias.

Bronze is particularly becoming to linear arrangements in the Japanese stylo. Copper and brass are entrancing with all rich and subtle colour harmonies, because the high lights and reflections in the metals augment the chromatic play of the blossoms. Pewter is more becoming to flowers than silver, which is too overpowering. too elegant, for any but the most :-.o| histicated hot-hou.-c varieties, such a.s splendid roses.

Odd hopes often are valuable <i id inning a. certain contour in Hu

"bunch" and arc mot easily avniLi’d'in modernistic designs ami in Venetian glass. A household iil< n. ;1 ;;oni'times provides the curve ->r angle described, and if it is not v alerlight cun be given a metal lining at a hardware store—in time dt least, for tiiv next occasion. The hmm-

forms constantly needed are urnshaped and other pedestal vases of various heights and with open necks (tight necks destroy both the life and grace of the flowers); bowls, flat dishes (for vertical flowers, such as water lilies); and those cylinders, rectangles and squares that are used in laboratories. Vases in solid colours can be employed effectively as integral parts of colour schemes, but the fact must be established at the outset whether the hue is to be the dominant one in the flowers or a minor tone. Black vases uro beautiful with jewel-toned blossoms; white containers need' not be regarded as merely dainty, they can give great strength and style io a composition. Patterned and mottled surfaces are more perilous. The French consider it important to repeat in tjie flowers every shade in such a vase, but this is likely to result monotonously, whereas if a selection is made suspense and surprise may be achieved.

Within the container must be placed a holder for some of the stems. For low dishes the holders may be glass or pottery blocks set on legs, so that the stems are not crowded down to the bottom of the vase where they cannot imbibe enough water. For high vases, however, contrivances are necessary that can be wedged into the upper part of the container. For this, pliable strips of lead, perforated metal, and supple wirenetting with a large mesh are excellent. A convenient stand-by is a piece of potato which has been perforated with a skewer. Holes should be large enough for more than one stem and to permit of slanting. If they are too capacious to hold the stems securely they can be filled up after these have been satisfactorily placed. An excellent holder is made of flexible tubes of lead of different lengths. Such short-stemmed flowers as pansies, violas, primroses, lilies of the valley and hyacinths stand very well in sand. Long branches need to be steadied by stones as well as apertures.

NEW FASHIONS IN NAMES.

We all know that important events and interesting celebrities play a great part in the choice of names given to children, and that, in consequence, it is possible to gauge with fair accuracy the age of a person. Godfathers and godmothers—and the child’s parents, of course —little realise what an index the names will prove in time to come! Victorias and Alberts and Alexandras and Mauds have had their day, and it is interesting to note that at the moment it is fashionable to take quite an ordinary name and give it an ofiginal twist by means oT out-of-( beet dinary spelling. Debutantes of the coming season have been endowed with as an unusual bunch of Christian names as ever 1 can remember. Here are a few: Lady Kathleen Rollo, for instance, is bringing out a daughter called Primula; Mildred Countess of Gosford's girl is Lady Camilla Acheson; Lady Norah Bentinck’s daughter has her name spelt Bridgytte; and Lady. Violet BonhamCarter’s debutante is called Cressida. There is another Camilla in Lady Boughey's girl.

Then there is Miss Gloria Congreve (whose mother is the Hon. Mrs William Fraser); Miss Christine Dawkins daughter of Sir Horace Dawkins; Miss Rosamund Broughton, daughter of Sir Delves and Lady Broughton: Miss Christian Howard, daughter of the late Hon. Mrs Geoffrey Howard; the Hon. Jocelyne Legge, daughter of Viscount and Viscountess Lewisham; the Hon. Jessica Mitford, daughter of Lord and Lady Redesdale; Miss Jeanie Lucinda Musgrave, daughter of Mrs Herbert Musgrave; and Miss Nada Gore-Langton.

Small children whom I have seen at various parties also follow the fashion of unusual Christian names. Some of these names are particularly charming. The Hon. Ardyne Knollys is the small daughter of Viscountess, Kindly--. There are Lady Zia Werahcr's Myra and Georgina. Lad.' - Edward Hay's step-daughter. Maryoth Elay, Mrs Ralli’s Pansie. Lady .SI rat lichen's Moyra. and Clayre. Lady Doris Gunston's Hermione and Sonia, and flic Countess of Carlisle's little girl, whose name is Lady Carolyn Howard.

Boys still seem to be called Michael. Robin, Jeremy, and Charles. James John, Edward, or George when the family precedent has to be followed. On the whole, the boys have the best of it, as they are not treated to anything very ‘•outlandish" in the way of mimes.

It is a fact that an uncommon name is a drawback for several reasons. It is a constant cause of annoyance in that it is invariably spelt incorrectly. Another disadvantage is that no one ever seems able to remember it or pronounce it properly if it varies from the normal. Yet another objection is that in schoolroom days it is so apt to be a source of ribald laughter.'

Parents will be wise to pause ami think twice before endowing their offspring with a name that is too con-spicttoti'-Iy different, and will mark their child out us something special.’