OLD SPRING MODELS.

New Zealand Herald, Volume LXIX, Issue 21159, 16 April 1932, Page 6 (Supplement)

OLD SPRING MODELS.

AUDIENCE AT CLARIDGE'S. THREE PRINCESSES. [SPECIAL TO N.Z. HERALD. —COPYRIGHT.] LONDON, Feb. 26. London's own spring models were shown to a distinguished audience this week at Claridge's Hotel. Three princesses, with Mrs. Stanley Baldwin and Lady Snowden, attended the opening display, and throughout the week buyers from all parts of tho world have enthusiastically endorsed this first effort by three famous British designers to offer their exclusive models to the manufacturers and trade buyers.

Showing 200 gowns, they covered every moment of a busy woman s Hay, from simple Macclesfield silk breakfast frocks to gorgeous gowns for receptions and balls.

Now, while simple individuality is the keynote of all good fashions this year, there are several points on which all designers seem to agree. First, the importance of a decorative sleeve is emphasised in gowns for all hours of the day. Every type of puff has been exploited, and on every suitable position of the arm. However, this is where one must take special care in choosing the right type of puff. They can have such a devastating effect if not just right for the wearer's figure. Avoid exaggeration, and let the puff be of moderate size, and quite soft, whether it is at the shoulder, the elbow, or the wrist.

Sleeves that are full from the elbow to the wrist are often slashed to reveal a contrasting under-sleeve. Others are open from the elbow to the back of the showing little frills of net or

Jace. A pretty gown of black and white spotted crepe had a row of flat white loops from the elbow to the wrist, to match similar white loops on the bodice. Whole sleeves of a contrasting colour, with no other touch of colour on the dress, is another distinguished idea. A gown in deep indigo blue had coralred crepe sleeves, close-fitting at the top, then full with tight cuffs at the wrists. The upper part of the arm and the cuffs were embroidered with gold thread. A similar model in black crepe had long full sleeves of Royal blue, the lower half being embroidered in steel beads, to match a belt of steel links. Epaulets of all sizes ara another way of decorating sleeves, and these appear on coats as well as dresses, as do the long and short cape sleeves. The odd coloured coat remains smart, especially in red or white. One exquisite model showed a black dress, worn with a scarlet coat trimmed with black fur on edge of cape sleeves, and lined with black. With this was worn a small black hat and a black bag, with linings and facings of scarlet and a large gold and scarlet enamel monogram A white short coat was worn over a dark blue dress, the lining and facings of the coat being of dark blue. This brings me to another important point on which all designers agree. The lining of the coat must be emphasised as part yf the ensemble. As in the case of a model in stona beige wolleri fabric: The short jacket was trimmed with cocoa brown fur and lined with the same shade of brown. The coloured coat over a printed crepe dress, returns each spring—it is such a convenient model for many occasions. Each season, however, there is a distinguishing difference, and this spring the dress is printed in two colours only—the colour of the coat and one other. Norman Hartnell showed three models at once based on this idea. A blue coat over a white and blue printed crepe; a brown coat, with yellow and brown crepe; and a scarlet coat over scarlet with white printing—each coat being lined three-quarters of the way down and ending in a shaped line of the printed silk. The third important point about the new fashions is the neckline. Practically every model shows a draped or softened neckline, finished with a scarf or a bow, long draped revers, or an uneven capelike collar. The neckline for day clothes of all kinds is much higher some are even buttoned right up to the neck, but they can be unbuttoned and arranged in wide revers on one side of the bodice. Buttons of steel and chromium plate are considered the smartest wear, and the buckles on belts made to match, and in many instances complete metal belts. A very smart coat i» battleship grey tweed had a collar and ono largo rever of grey lamb, and four of these steel buttons in double-breasted fojjnation, higfo above a grey tweed belt fastened with a steel buckle Tho same type of buckle fastened the narrow cord ribbon round a jade green hat, and the coat was lined jade green—and the dress beneath, jade green jersey cloth—grey and jade green is one of the chic colour combinations for tho spring season. Scarves remain an insistent part of fashion, but wc shall soon be changing our soft woollen and tweed scarves for others of silk and crepo de chine. A scarf with spots, wide stripes or checks, is the smartest wear with sports clothes. For more dressy occasions one in two colours—tho middle colour of the scarf light and the ends dark, or vice versa—is a good design, and one which can easily bo made to fit any colour scheme. Another clever idea is to have a short but fairly wide scarf of the same silk as tho jumper lined with the material of tho suit, and worn with one end pulled over tho other and hanging loosely, stock fashion.