SHAPE YOURSELF OWN TASTE—EDWARDIAN OR GRECIAN?

Manawatu Times, Volume 61, Issue 65, 18 March 1936, Page 14

SHAPE YOURSELF OWN TASTE—EDWARDIAN OR GRECIAN?

/•/ IGURES are made these days. Nine times out °f ten when one sees a fully grown f J woman with a truly lovely figure, it is the result of a perfectly-fitted foundation garment. And to-day’s foundation garment is not an armor plate—it is a soft and supple thifig, as delightful to look at as it is to wear, and if it does mould the figure into lines that are suggestive of the gay 'nineties, it does so by methods that are gently persuasive rather than dictatorial. Recently a return to “wasp-waists” was heralded; but fortunately there is no question of a sacrifice of comfort by tight-lacing in order to get the fashionable 18in. waistline of the 1900’s. According to a leading corset designer in Sydney, “Australian women are too sensible to tolerate the discomfort of the old-fashioned corset,” and as the same effect can be achieved with the most pliable materials and with a complete absence of boning in many instances, why should they do so? One exquisite new garment, appropriately named "Edwardian,” is shown in this collection, and has not a bone in its body, yet it gives the mannequin wearing it file effect of a "waspwaist,” and, too, the new long torso line. The designer achieved this triumph by the handling of long narrow panels at front and at back, by the use of inserts at the side waists of elasticised material, giving a grip through waist and diaphragm, by bias-cut contour-lastik panels over the hips which gives them a gentlyswelling curve, and, by the introduction of a Talon fastener down the front, which preserves the sleek, fitted line of the garment. Side by side with the Edwardian trend, fashion favors the classical Grecian line, calling for a slightly different corsetry design to mould the figure smoothly and naturally without

any exaggeration of curves. As Schiaparelli says of this line, which incidentally is her line, “Clothed in nudity. To-day’s dress follows smoothly the flowing lines of the body. Where drapery is used, it confines but does not supplement the sculptured effect.”

Such a design is the black model-shown here. As the mannequin stood, walked or sat, there was not the faintest trace of a wrinkle—the garment fitted like the girl’s own skin. The skirt is of black satin lastex, the upper part of the garment of rich black needlerun net lace, is lined throughout with fine white net. The beautifully shaped bust sections are appliqued beneath with stitched black satin motifs.

A note of elegance is apparent in most of the new season’s models. They are just as lovely, as fashion-right and figure-per-fect as any outer garment, and they run the entire gamut from exquisite satins through softest laces and fancy nets to supple elastics and restraining two-ways. As an example of the glamor which has been woven into some of the new garments, is the all-in-one made of pastel tea rose satin, and specially woven French silk elastic. The exquisite deep cream Alencon lace top carries just the right uplift and youthfully rounded contour, while the back is cut low to accommodate a varied decolletage. A stitched satin motif is appliqued across the upper diaphragm as a charming finish.

For the slim young girls and women who fancy a minimum of clothing under their evening frocks, there is the pantee-step-in, sleek and tailored in lastex net and plain matching net. The legs are cut very, very long to ensure a firm, sweeping line from hips to knee-cap almost, and another quaint and useful feature is the “Talon” fastening, opening down the centre front. This garment gives complete freedom, comfort and control.