Frills, Flounces and Furbelows!

NZ Truth, Issue 1301, 20 November 1930, Page 20

Frills, Flounces and Furbelows!

Floral Jewellery

paramount! STARS: (1) Mid- | summer millinery it | > . j i i ■ ■ i =ntiiittiuiiii»iiiiitiiiiiiiii suggested by Jeanette Mac Donald. A grey horsehair afternoon hat uses grey velvet ribbon m a . clever .shoulder bow effect beneath the upturned brim. (2} The last barrier down. Fashiohsihave gone entirely feminine. Here is Jeanette plus frills and flounces m grey chiffon and a parasol- — very , fluffy — to match. (-3) The velveteen jacket for the • Brightest Young People. Marion Shilling wears a bolero m orange velveteen with her black, orange and white printed silk. (4) Black and white and Josephine Dunn, who also has a liking for the short coat. > (5) Lovely as a summer dream. Carol Lombard's black and white shaded chiffons.

' Floral jewellery is the rage m Paris, • and designs for it are made by artists at the request of the great dressmakers who have adopted the idea that a woman's jewels should be m keeping with •'- her- frock. TF a rose design is chosen, the little flowers of pink topaz, 6r coral, and the leaves of ' emerald. Forget-me-nots are of turquoise or sapphire and have leaves of beryl. At the moment Paris, is favoring an unusual color scheme — red put with pink. When the dress is pink, the little coat, shoes and jewels will be red; but when the dress is red; wrap and jewels are of .pink. " The reds are not the bright scarlet or cerise shades, but the rusty brick-like tones, and the pink is a shade of sandalwood or pale coral.

LA VENDER AND LACE

WHEN great-grandmother was a ] girl she took the balmy air of i pleasant days m every frill,' flounce and furbelow known to a coy and,] skittish generation. .'. " , Yards and yards of sprigged muslins, silks and dimity, went to the making of her frocks; feathers and velvets and follow-me-lads trimmed her millinery, and for ever and a day she had her parasol. Summer 1930 brings back to '.'grace 'the "frills and] the! flounces of that lavender and j lace age, and with them return the ] sunshade. It may be a lovely delicate thing of puckered chiffon and lace to complete the effect of the printed chiffon frock; it may be of pastel-shaded silk to accompany the voile

or organdie outfit, or it may be i gay thing o£^ linen as tailored ir line as the smart frock bf shantung linen or cotton ' that is its dress sister, but definitely it must take iti place m the wardrobe of the wo man to whom changes m fashioi are of paramount importance. • Take - '.its. place even when thii summer's hats will, m dimensions outrival those immense milliner} structures, the "Merry Widows,' that flourished when mother was s girl. Obviously the object of tht parasol will be to add or namentation rather thai to perform any thing remotel; useful.

Did Yoa Know That 1 - LONG after the invention of pins, way back m the 14th •century i 7 the maker was allowed to sell them m open shop only on January 1 and. 2. .It was then that languid ladies of the Court and bustling city dames flocked- to the depots to buy -their supplies, first having been provided with money by their husbands. V V When pins became cheap and common, the ladies still demanded the allowance', bul spent it on other fancies — the term "-pin* money, however, remained' m vogue. It is quite an error to suppose that pins were invented m the reign of Francis 1., anc] introduced into England by Catherine Howard — -the wife bf Henry VIII. m 1347, just 200 years before the death.o f.F rancois, 12,000 pins were delivered from the, Royal wardrobe for the use of the. Princess Joan. Pins were not only manufactured m England, but were 'of high repute even m the reigmof Henry VIII. (1399:1413): To-day } hundreds of years ■ ■ after, the flapper, and even the /*«' matron, refers to the allowance • , Jm& for her own' personal expendi- • Jm_Wk ture as "pin money." ipli^l

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