MY LADY'S DRESS

Otago Daily Times, Issue 22609, 28 June 1935, Page 17

MY LADY'S DRESS

A LETTER FROM SYDNEY Dear Phillida.—Yesterday I visited one of the bin Sydney stores which is holding its show of spring goods a month earlier than usual. It seems an anachronism to be planning to buy spring things before most of us have matched up our winter accessories, yet they are so fresh and inviting, they have such charm and insouciance, that it is only the strong minded (or the most poverty stricken) who will be able to resist their temptation. At any rate for all of us it is an aesthetic pleasure to plan our spring wardrobe, and one which should give us many hours of happy anticipation. Besides, spring does not burst rudely upon us—these things have a pleasing restraint which is in reality but a promise of midsummer madness to come. I saw bales of exquisite sheer vibrant with surface interest, which would prove a wise purchase to-day. There were pastel plaids by Rodier with a dovvnilysoft hairy surface and unbelievably sheer woollens by the same maker with a knoppe spot at six-inch intervals—all so fine and so soft that it could be pulled through the proverbial wedding ring.

Then there were crepe and basket weave woollens which would be ideal for suits, coats and ensembles. As for the silks—they defy description; there were fascinating cereal weaves, exaggerated cloque effects and crepons. Taffeta of every type and breath-taking- 16 and 12-colour flower prints for evening. For day there were an abundance of conventionalised daisy clesips and coin spots with the new wide spacing. As for the clothes themselves, the most important influence is a Regency one. Th£te were enormously inflated sleeves, shorter skirts with sudden little flares out at the hem and little suits with outsize revers. The silhouette is dramatic in detail <but essentially slender and streamlined. In the evening there is the peacock silhouette, a triumph of sartorial art, the Grecian silhouette and the bouffant Regency one. For daytime the little suit is tremendously significant —particularly the Regency suit, which is high on the shoulder, nipped in at the waist and made of any material from sheer wool to taffeta. Blouses worn with them are exquisitely feminine, cascading in froths of georgette or delustred lace. Dark blouses are worn under pastel suits: bright blouses under solids and mesh shirts for sports wear. Wide-revered suits have wide-revered blouses to go underneath them, and there are some one-piece dresses

that look like suits, cut so that they seem to have a blouse and detachable jacket. Ensembles consisting of silk prints with sheer wool swing-back coats, capes or redingotes are at the top of the fashion list.

The most important colours are navy, brown, pink, blue, and beige, with the new Patou amber as an exotic favourite. Marina blue, flamboyant red, grey and wine into violet tonings are used with discretion. Colour harmonies are more complex than those of last season, some combining three, and even four, colours at once.

Accessories are fascinating—in the millinery world the sailor is first favourite with Canotiers, Tambourines, and tyre brims a close second. Trimmings are exuberant. Fetching veils are worn on Edwardian toques—they just cover the eyes in front and then drift becomingly to the back. For early spring there are combinations of felt and straw and later on stitched taffetas, bricht piques, finest Panamas, and wide-brimmed straws. Shoes are mostly sandalised. Thev are made of gabardine, and basquette. a newsurfaced leather. There are pastel tonings and contrasting colour combinations. For evening flat Rgency sandals. Handbags are simple in long oblong shapes, very often initialled. Smooth call leathers, shining patents, and, for sports, string with natural wood handles are the

best. Transparent glass buttons ami buckles are important. Shirring is everywhere. Chamois is used for vests, gloves, and flowers. Pigskin gloves, often perforated, are excellent for town or sports. Pique shows in crisp touches. Belts are irrepressible. In my sketch are two of the frocks from the show. The first, a simple dinner dress of Patou amber cereal crepe, has its main interest in the shirred bodice and sleeves and the off-the-shoukler line. The clasp buckle is of transparent amber glass. The second frock is an exquisite chiffon affair which illustrates the proud "peacock" silhouette. It is cut with extreme fullness at the back and a huge sprav of pastel tulips is caught at the break. The floating cape is a decorative folly for later in the season. Other striking frocks were a black taffeta with a wide diagonal silver-white stripe—of afternoon length, this frock had a black crepon swing-back coat of threequarter length—and a black and white plaid taffeta of bold design, with one of the new flared and shorter skirts. Many charming frocks had shirring from a high waistline down over the hips—this was done with Lastex yarn, and was consequently adjustable.