FROM A PARISIENNE'S NOTEBOOK

Nelson Evening Mail, Volume LXI, 14 April 1928, Page 9

FROM A PARISIENNE'S NOTEBOOK

, FASHIOMS, ! FRILLS., asadl j FURBELOWS.

DIAGONAL LINES (By Yvonne Rodier—For "The Mai!") The gro'at tlres-s motif this year *v:!l "be the" trimming of clothe:. with diagonal linen, ■ftqujin-.- ami geometrical put torus will also prevail. A special cachet <<f smartness ami ciiic »i!l bo accorded to patterned afternoon dresses; and crepe satin will materialise some of the most notable models. Crepe satin will relegate crepe de chine to the background, so one of the foremost designers assures me. adding that this new fabric is ;i miracle of softness and lovely texture. It i.- to enjoy a special afternoon vogue in navy, brown and beige, with a neat pattern. For evening near ;i thick but soft satin with a moire back, is to be iircd. A reversible material, in fact: and so shiny of surface as to resemble eire satin. Among the most attract he of the new reason's colours "ill be the exquisite pastel shade known as ducke<~. blue, a particularly wonderful shade of turquoise, slaty-grey blue, green-blue, and colour. For smart evening wear the prevalent. hues will be raspberry pink, peacock blue and midnight blue. Beige and grey will continue their long life for street suits and day frocks, varied bv a neutral hue that

is a combination of both, and appropriately christened "grcge." Other colours for evening wear that will come into the ultra-smart category are "off-white" shades, which, iu the couturicrc's parlance, means white with a tinge of colour in it, giving soft and radiant- effects. Typical examples aro whiie tinged with pink, yellow, or green; while the opalescent sheen of oyster-white is specially alluring. But it is already apparent thatblack, both in silk and satin, and judiciously allied to white, will still be a first favourite of La Mode. Gold or silver lace, of. so heavy a pattern that the dentelle looks almost like punched kid. trims black taffeta 3 e~oning models. Capes are to play an important part once again in more or lesjt ceremonial day gowns, particularly when these are materialised in. ethereal fabrics. All French frocks, let it be. duly noted, now cover the knees. This is one of the outstanding characteristics of eurrcnt Paris modes. Evening toilettes show very uneven points on the hem-line. ' Fringes nf elicnillc, silk, and heads will be well ill the varied picture. A typical model in gold lame, cut in tunic form, has the tunic finished from the knees with double rows of goldbead fringe. A silver lace frock, with a shawl of silver tissue, introduces long strands of grey trimming to the shawl. An eau-de-nil taffetas, exaggeratedly Victorian, has double ruches of frayed-out fabrics on a flounced skirt.

Lovely embroideries, not overdone, appear .on some, of the, new evening gowns of notably'beau* iful workmanship. White crepe dc chine is embroidered with a shaped pointed V-yoke. in diamonds and pearls. A pale daffodil taffetas has shoulder strfrps and hip pieces of heavy 'trass-work with topaz and and jet cmbelli-h black ring velvet are still very much the vogue. • ■ PAINTING ON CHINA (By Constance Aylen) Fainting on china is easier than it looks. Moreover, it i* a fascinating pastime. .The chief point to remember is that the design should be simple—the simpler tlic better. Futurist designs and sprawling lines are out of plare. in .this kind of decoration. All shops which stock artiste.' colburs sell china paints. Turpentine acts S 3 an eraser, so that you can experiment upon an old white plate, practicing with various combinations of colours, patterns and thicknesses cf

j paint—a ••cry important unit'or this I lant—until ,'■"11 consider \ on are suflijcieutly proficient, to proceed further. Then provide yourself with a few plain while plates, cup: and saucer's. little butler di'-lics, etc., and commence work in eat v. ■ '• HOW lo PROCEED Choor-e your deign firrt. say for a •plate: any simple oijc v ill do. Work ;it out on paper mi that tt is just the ri«_lit si/.c and curved to lit the section of t lie plate it. i.-, to adorn. Trace it on thin tracery paper and fimten it to the plate with ;i spot of soft wax. Slip a small piece of carbon paper underneath, hold it lirmly cud trace with a very hard pencil, one section at a time. Now outline the pattern either in Mack or in a darker shade of the colour you are u.-'mg for the design. For this purpo.-.e your paint should be mixed thin and applied with a tine camel's hair bru h. Have the old plate handy to practice on and when you feel able to make even, steady lines. paint over the lines of the traced pattern. Let this dry thoroughly: t! put in the colour or colours you have, arranged—orange and brown; blue and green; yellow and copper and so on. For this last proceeding, the. paint must be thick and compact, so that it will not spread. Work it well into the brush and then paint inside the. outlines, as smoothly as possible all tit once, so that you need not touch the design again, thus keeping the colour (dear. Having finished your design, protect the paint and china from dust, ler it. dry thoroughly, then wrap it in tit-sue paper and take it to be tired. Be sure to (dean your brushes with turpentine and press them into shape, ready for use next time. THE GIFT OF THE GODS What is this virtue which we call charm? It, is neither masculine nor feminine, and there are some who dispute its right to be termed a virtue. Let us, therefore, call it a gift of the gods. And let those on whom the gods have bestowed it deem themselves honoured indeed!

Tlio quality of charm resembles the quality of mercy inasmuch as it is not strained, hut sheds its magic spell on all alike. It has nothing to do with beauty, success, wealth, talent, or any other of the enviable fellings which may create personality, but which never make charm unless the seed is there already.

Like most of the gifts of the prods, it appears to have, been bestowed blindly, for the gods are no respecters of perponp, and charm is as likely to l>c found in the. beggar maids of the earth as in tlie noble princesses. It is of the heart, but also of the head, and utterly unselt'-eonscious. It is often witty, but never unkind, for charm does not show itself oft' at the expense of others. Tt is born of thoughts—perhaps fanciful, perhaps deep—allied to a golden heart. Tt must be natur.il in the first place; but it can be cultivated, because some people who started life with little have developed that little to a marked decree. Charm is enthusiastic, romantic, joyous, almost luminous, because, irrespective <>f circumstances, it sheds a magic glow which all behold—and probably envy. Why should so-and-so. with her poor health. Monies, the usual trials which vex mankind glide through life leavinir a trial of brightness behind? She scatters hope and joy everywhere. pours oil on troubled waters, cheers the downhearted—all because she possesses charm!' Yes. these fortunate folk possess a gift of the gods which helps them to realise the true -\ allies of life, and so they may snap their fingers tit petty afflictions, and laugh, and murmur the charming, witty word which comes straight from flic heart, or mind, or soul, or whatever else, we care to call this intangible part of our being. M. L. Tyrrell.