MY LADY'S DRESS

Otago Daily Times, Issue 22834, 19 March 1936, Page 17

MY LADY'S DRESS

A LETTER FROM SYDNEY Dear Phillida,—For anyone who enjoys a touch of the dramatic, has learnt the art of an entry and an exit, or likes to sweep you off your feet at a glance—nothing could be better suited than an evening wrap done in the new way. It is a s if the designers, realising that no stage could provide a background more colourful than that of real life, had concentrated their theatrical talent in producing something that would turn us all into star players. With fabric, colour and silhouette they have affected extremes —the bizarre, the exotic, and the ultrapractical follow each other in striking procession. So we have sweeping Florentine capes, rich in colour contrast, hooded in mystery; we have wildly luxurious fabrics made in, hitherto, sportsmanlike forms; we have long, fitted coats in glamorous lames, and velvets which flow into voluminous, bouffant sleeves; we have woollen evening wraps—Schiaparelli makes a long coat of guardsman a red broadcloth, extremely tailored —and we have a sensational coat (also by Schiaparelli) which features a muff-apron front panel. Capes and coats divide the evening

honours about equally. Coats are usually dress-length or decidedly on the short side—although Rochas shows finger-tip belted tunic-coats made in Merry Widow style in pale brocaded lame. Nearly every formal evening gown has its accompanying short jacket, which, if not made of the same material, is linked to it, either by way of contrast or by matching the gown trim. Pleated lame is used tor the short-swinging jacket and for the top of an ensemble of which the skirt is amethyst crepe. A slipper-satin ensemble has a stylifihed silhouette ot formal folds, nil the fullness falls gracefully to th<j back of the gown, and the matching jacket is fitted in front, where it is held tightly by a row of coveted buttons at the waist; it has slightly leg-of-mutton sleeves, a fluted, basque back, and a mink collar giving it the richness of a Florentine portrait.' These short coats, which are worn by many of the best-dressed women, double the dramatic value of which I have just spoken—imagine the contrast achieved by wearing a demure little jacket during dinner and then throwing it off for the dance, to reveal the gleam of white shoulders and back. ... .. Cape lengths are more variable than coat lengths—they may be very short, of finger-tip or knee-length, or they may sweep the floor as in the magnificent model sketched. In the true Renaissance

flavour it is cut from yards and yards of stiff, black velvet, and lined with incredible daring in vivid vermilion taffeta. It is the only sort of cloak to wrap a goddess in—unless, of couree, ycu prefer the hooded coat sho,wn in the other sketch. Here ie a sheaf of shimmering loveliness, which achieves supreme distinction by virtue of its glamorous material —brocaded lame, its piquant, peaked sleeves, and its peaked and folded hood framing the face in fantasy. A rose, a feather, and a chiffon handkerchief are all in the same mood.

Capes, of course, require wearing—especially the long, voluminous ones. They are better for tall women, and even then heads should be kept well up and the step should be free and graceful. It vou have one, practise a gliding walk in front of the mirror until you are so sure of yourself that it comes naturally to you. Many capes are quite interesting at a first glance—it is for the wearer to vitalise them, to decide their form, Leading designer? concentrate on colour contrast and fluidity of line and then teach their manikins to drape and fold them with grace and precision. Molyneux has full-circular, two-thirds length capes. Their fullness gives them a dressy air, yet thev are easier to wear than capes of the Renaissance type. Favourites are in matalasse taffeta lined with velvet. Also easy to wear are Mainbochers

swagger jackets and capes attached to tightly-buttoned gilct-fronts. They are lovely in moire taffetas, in coloured metal clothes, or in metal moires. Sometimes they are lined with velvet. Wool for evening cloaks is exploited by Paray and Piguet, who use broadcloth and other thick woollens in cold and rust-reds. Lelon;* makes short knitted capes for evening which are unusual and comfortable. A cape with a touch of the Foreign Leirion is Piguet's rustic red woollen, which is cut wide and floor length. This is an example of an informal material used formally, while Heinz goes to the other extreme when he makes a white satin which is quilted with silver threads and lined and collared with mink into an officer's great coat even to the belt at the back. Grand evening wraps made in sports coat lines will never fail to appeal. Capes, for those that can wear them, will prove the most profitable investments. They are now well on the way to firm popularity. With coming months they wiL increase in favour and. because they require a certain distinction of bearing, they stand no chance of being overdone. 80 if you want an evening cloak that will remain in fashion and you have the required i~\ _r> / La %(7 flair for wearing IsJCul\r**-' it, buy yourself a cape*