HOUSE AND HOSTESS GOWNS

Nelson Evening Mail, Volume LXX, 19 December 1936, Page 12

HOUSE AND HOSTESS GOWNS

COLOURS IN PARIS

STAGE FASHIONS? A brief examination of attractive new Paris model gowns and suits left me with the impression that French designers are concentrating on no particular colour, though some of them arc enthusiastic about the new .blue shades. In one salon I noticed a good deal of green, in another were browns in all variations, in another practically nothing but blue and black models. In cloque, the new light blue, which is regal,' not crude, looks exquisite. The material was made up into a lovely .little evening coat, with balloon sleeves —one of the essentially practical wraps which women choose to wear over elegant gowns because the sleeves, being really large, are not likely to crush the delicate fabrics beneath. The black house frocks and hostess gov;ns shown in the Paris collections are in rich materials, like satin, heavy crepe, cloque and so on, and they depend almost entirely on graceful cut, trimmings being reduced to a minimum. They “hang” beautifully, yet are extremely simple and wearable.

The hostess gown should receive due consideration when the wardrobe is being planned. There is no more useful garment for the woman who has to entertain —and be entertained — fairly frequently. I saw a marvellous interpretation of it in peach coloured silk lace, draped high to the throat and cut in a V at the back. The skirt was door length, the bodice had long, loose sleeves, and was girdled at the waist with a monkish cord in the same colour. This was one of the few models in the lighter colours, • designers having apparently decided to be rather practical this season, so far as house clothes are concerned, and to consider cleaning charges. . The elegant black or dark blue suit, with a frilly blouse of delicate white fabric, is another “hostess” suggestion.

“House and Hostess Qowns” “The elegant black or dark blue suit, with a frilly blouse of delicate white fabric is another ‘hostess’ Suggestion.”

Perfectly cut and fitted, the ensemble, iri satin,' cloque or marqcain, could quite well attend a dinet party or go to the theatre, as well as see its owner through countless minor occasions such as tea and bridge parties. Tea parties, by the way, are very fashionable, largely taking the place of more formal dinnertime gatherings, so dresses suitable for them must figure in the wardrobe plans of every woman who would be called up-to-date. THE OUT OF DOORS In Paris, the principal colours for wear out of doors are navy blue and brown, the latter varying from every tone of chocolate and nigger to the lovely, rich tan tones, some of which are almost bright enough to be called “flame.” The dark tan shades are featured in tailored dresses and suits; the light ones, in various silk fabrics, <n blouses and more “dressy” frocks. £he navy blue is the pleasant “in between” shade, neither too dark nor too light, and good for women of practically all colourings, from platinum blonde to brunette. Grey and navy still continue to form a satisfactory alliance in the dress world. I saw a wearable suit in very line pale grey smooth cloth, the skirt I slim and rather short, the jacket finger-tip length, with navy blue silk braid, about three-quarters' of an inch * wide, edging the hem, pockets and cuffs. Most of the street suits, however, are developed in rougher fabrics, showing little ridges, squares and so on. For jumpers to go with them, two colours are often psed—a pastel tint worked into a darker surface in such a way that, although npt in the least conspicuous, it gives a suggestion of colour relief. CROCHET COTTON There are still some knitted and crochet dresses in Paris, made pf cotton for day wear and of silk for the evening. The foundation is close purl stitch, and a small pattern, or a conventional design, }s worked into a centre panel. I like the idea of a knitted silk evening frock—it is something not seen in every drawing room. LIMELIGHT Gowns worn by stars of the stage are usually interesting. .They may, perhaps, be a little too suggestive of the limelight for ordinary wear, but they can usually be adapted to individual circumstances. Designed by cne of the most famous persons in the dress world, a home gown, or negligee, locked exqiiisite in a very pale tone of turquoise blue dull crepe. It was quite simply cut, with a long-y/aisfed, fitted bodice fastened floyvn the front with large blue hooks and eyes. The skirt was slit from waist to hem, showing a petticoat of apricot coloured satin. At the throat was a single lose, in the same shade as the petticoat, on a long green stem. The charm and grace of the gown would need to be seen to be thoroughly appreciated. I loved the long waisted bodice

and the gathered and slit skirt —I liked the colour scheme, too.

An original evening model was made of filmy velvet and faille, both black. The simple velvet frock was moulded to the figure and had faille straps, and the back, cut with a short train, was in the faille. Two large tea roses, in taffetas of the correct' shade,

were worn on the corsage, and another in the hair, their very dark foliage providing a fine foil. An unusual colour contrast was shown in an outfit comprising a pleated shirt blpuse in turquoise blue crepe, and; a tailor-made., suit in a dull red tone, the coat having wide lapels and four pockets. For “glamour,” I commend an evening frock in soft cyclamen pink tulle, the skirt very full and composed of numerous gathered panels. It is the kind of airy-fairy drpss that only a young girl'can wear successfully, hut older folk wpuld surely be cheered by it. A b.unch of natural looking hydrangeas adorns the corsage and a dainty fichu-like scarf of blue tulip is draped about the shoulders. One more fashion news item—glovep are important this season and can easily “make” the dress or suit with which they are worn.

They have softly falling gauntlets and little wristbands fastened with smart buckles, buttons or studs. The embroideries on some of those in soft suede and kid, for day as well as evening wear, are really lovely. The skins are dyed in various colours, to match or tone with the ensembles, and dark green and black tulip are newcomers in the fashionable range of shades.

Gloves are always worn at dances, and here the artistry of the makers has full play. Long, slinky, slightly puckered, they are made of super suede in' white or, preferably, a colour to match that of the dress. —Diana Dane.

SCIENCE OF PALMISTRY (No. 6) tJ THE FATE LINE The fate line rises either from the wrist or from the life line, running up through the palm. When rising from the life line, it shows that success will be won on the person’s own merits. If it rises at the wrist and goes up clean to Saturn, it indicates success despite obstacles. Going to any other mount' it means success* in the qualities of the mount. It must be remembered —and this applies to all lines—that the fate line can and frequently does change. It should not begin too low upon

the wrist, nor rise too high upon Saturn. Either way, it shows excess and rashness, sometimes melancholy. A fork on the mount, however, is gcod- Rising from the ljfe line is a favourable sign, showing that the subject’s fate and his life are going to plan, as it were. No serious struggles are indicated, and success will come as the result of endeavour. Rising from the piount of the mopn, the line indicates success more dependent upon others, often the opposite sex. If the line ends on Jupiter, a happy ancj successful marriage is foreshadowed. A cross on thp mount of Jupiter confirms this.

j When the Ijiu? rises front Mars, it shows an uneventful life, with littjp success until late. A line rising from the centre of the hand shows sorrow and trouble, but, if clearly marked at the end, success will come even if late in life. Should the fate line die away at I the head line, it indicates that some

serious obstacle lias checked the career—perhaps interference from others. In this case, another line may often be seen re-starting and going off in another direction. Sometimes a fate line is clear in one hand and broken in the other. The left hand shows the tendencies of the nature, and the right shows the action. Thus, a strong fate in the left hand and a weak one in the right hand will denote a subject whose destiny is broken by laziness or other bad qualities. Reversed, it will show someone who has conquered natural bad tendencies and forged ahead by sheer will power.

A line forked at the beginning shows weakness and indecision; sometimes weak health.

Ending on Mercury, if indicates business genius; on Appollo success in art. or literature; on Jupiter, gratified ambition. —E. A. SAVOURY RICE DISH This is a good supper dish, and suggests a way to induce the nursery people to eat rice which may have become rather boring in the form of ordinary puddings. ' Wash and dry the rice, lightly brown it in butter, cover with good stock and simmer slowly until the liquid is absorbed, adding a little minced onion. When the rice is quite soft, stir in some prepared and chopped shrimps, a tablespoonful of grated Parmesan cheese and enough skinned and mashed potatoes to flavour. Season with salt and a dash of curry powder, and simmer again for ten to fifteen minutes, adding a little more stock to keep the mixture moist, but not “sloppy.” Turn into a hot dish and serve with potatoes cooked in their skins.