TROUSSEAU MODEL

New Zealand Herald, Volume LXXIV, Issue 22775, 8 July 1937, Page 4

TROUSSEAU MODEL

CONTRASTS IN FItOCKING ATTRACTIVE DINNER GOWNS COLOURS OF THE TATTOO

BY BARBARA

The two dinner dresses in my sketches this week struck mo as eminently suited to New Zealand. Either of them would bo perfect for dinner, bridge or the cinema. On the left is a copy of a Schiaparelli model, the original of which was bought by the Duchess of Windsor for her trousseau. Of thick crinkled crcpo* trimmed' with conventional scrolls of white embossed leather it is tlio perfect evening ensemble. It very simply solves all ponderings over whether or not to dress by being an exquisite combination of the formal and informal. A decollete evening dress, sheath-like and backless, is worn under a little, fitted coatee outlined with white leather scrolls, square-shouldered and with long sleeves tight to the wrist. The other gown illustrated is an inspired black crepe by Mainbocher. He lifts this long-sleeved frock from the mass by banking lilies of the valley at the low decolletage. It is superbly shaped to mould the figure and opens unexpectedly at the back to show a trailing pale green underskirt, which also gives body to the skirt by holding it stiff below the knee.

The Romantic FrocK These simple, slip-like gowns are shown side by side with the romantic, full-skirted varietj'. The modern woman has set herself a difficult task. While retaining her independent outlook sho delights in play-acting, in creating an illusion of fragile femininity for high occasions, in direct contrast to her practical view of the every-day things of life. Consequently many of the new evening frocks —both for informal wear and for the more intimate evenings by her own fireside —have a delicate, dreamlike quality, reminiscent of Gainsborough and Romney ladies. There are iloating chiffons, stiffened organzas, frothy nets, and laces all made with swinging skirts and tight, fitted bodices, often flower-trimmed. Black lace is used to great effect by Chanel, who makes from it a dinner frock of infinite charm. A completely circular skirt of cobweb black lace veils the cocoon-like slip of aqua-blue satin. The sleeves are wide at the shoulder, then long and slender to the wrist; the neckline is a low front V and a posy of pink and blue flowers nestles in the black velvet sash. Vinnet uses black Chantilly lace to accent the fragility of black net. Diamonds of the lace alternate with net on a dance frock which has a high, twisted neckline finished with a fan-shaped lace jabot. The slip is pink organza and the black grosgrain belt buckled in brilliants.

Vogue for Pastel Colourings In contrast to the gipsy colourings of which I told you a few weeks back, there has been a sudden reversion to pastels. The shops are full of Ascot and garden party frocks—all very summery and bouffant—designed to wear for theso occasions, but really almost better for informal evening frocks. Flowers, ribbon sashes, bows, coloured Valenciennes laces, tucks and tiny covered buttons all add to the elegance of theso clothes. White organza and white organdi make the most romantic frocks of all. * The summer scene, however, is a far cry from the cold winds of a New Zealand winter. At the opening performance of the Aldershot Tattoo I was able to collect fashion information which, because the night air was chilly and consequently called for warm dressing, is of more immediate interest to you. The brilliant colours of the tattoo found their reflection in the clothes of the women present. There was a predominence of jacket ensembles —either loose, swinging jackets over pencil-slim frocks, or little, fitted jackets in bright woollens over dark wool frocks, often with flaring skirts. An enchanting dress of black wool had a slightly flaring skirt divided into squares by black wool threads, each alternate square being embroidered' in brilliant wool flowers. The jacket was plain black, tightly fitted and buttoned down the centre front.

A full-length coat cut double-breasted and with high, wide rovers, was made of real Scots plaid in red and green. The tattoo, itself, was a fount of sartorial inspiration. Superb as were the uniforms worn in the Coronation procession they were not as widely diverse as those worn in this parade. At Aldershot the Army reaches the pinnacle of pageantry. In a magnificent natural sotting an immense grassy arena, backed by beech woods and fronted by a half circle of grandstands, has built on it at ono side a model, battlementcd village. The music, tho mass marching, the riding and the lighting together with the uniforms make a unique spectacle. The stage management is faultless—with searchlights focussed on tho departing performers huge armies collect in the central arena unknown to the audience, to be revealed by brilliant lights when their turn comes. Most notable were the opening scene and the finale. Til tho first instance emphasis was laid on the contrast between the Scotch and the English. Their bands and pipes playing the masse<l regiments of each country in turn marched to tho front of the arena and counter-marched back again. The increasing and decreasing volume of music and the marching men, the contrast between the gay English uniforms and tho subdued plaids and swinging capes of tho Scotch were unforgettably stirring. Tho finale was even more memorable. Covering the entire vast arena were massed all the troops who had taken part in the tattoo. Every century was represented—the doublets and hoso oi the middle ages, the slashed trunks and plumed hats of the Stuarts, the red and blue coats of the Napoleonic troops and the varying regiments of to-day. It would bo difficult to imagine a scena more impressive, showing lino upon lino of soldiers, mass groups of colour, flying pennants, .horses, pikemen and resinous torches hold aloft. In the centre was a bronze British lion on a high, white pedestal.