MY LADY’S DRESS

Otago Daily Times, Issue 22964, 20 August 1936, Page 18

MY LADY’S DRESS

A LETTER FROM SYDNEY Dear Phillida, —I have just returned from a private showing of French model frocks imported by Sydney’s most exclusive dress salon. All the leading Paris houses were represented in a collection breath-taking in its interest. Although it is as yet early to consider summer clothes, I thought it would interest you to glimpse the future through the medium of this opening. . , , Before describing any individual garment I want to stress a point which is characteristic of them all and, apart from the beauty of their materials and the purity of their line, would distinguish them anywhere as the fashionable elite. I refer to the exquisite hahd workmanship and meticulous attention to every detail which is lavished upon them. Unlike the muchornamented clothes of the East, these French frocks do not force upon your attention their delicate workmanship. It is always subordinate to the silhouette. One notices first the exquisite flowing lines and grand casual - ness, which only on close inspection reveals itself as a deceiving intricacy

used as an integral part of the garment. , To begin with day frocks, again the predominating colours were navy and white, brown and white and black. Pleatings, pin-tuckings and lingerie touches were used in nearly every case. When a frock was neither pleated nor tucked, it was cut on the cross and almost invariably possessed some form of decoration in the piecing of its skirt and sleeves. An enchanting navy sheer, characteristic of many, had a drawstring neck, tucks running diagonally from the neckline under the arms to meet in the centre back, tucked sleeves —short and full—and a vertically tucked skirt which was pressed out three inches from the hand-rolled hemline. A plain belt was fastened with a delicate chromium bow. The hat worn with this was a white straw with a square inch-deep crown, a drooping brim and a navy veil and bow in centre front. Many printed frocks had cut-out flowers from their own print used to outline collars, pockets, jabots, etc. Patou made a stunning ensemble—a trim black wool coat with cape sleeves, which continued capelike at the back, worn over a black and white check silk- frock cut on the cross—very plain with black patent belt and tiny covered buttons down the bodice centre front

The hat with this was a dashing coachman straw, shiny black with a grosgrain bow looping over the back crown. White spots on a nav" ground were used ingeniously in group pleating on one morning frock which featured a pleated pique vest with buttoned down bows. The spots were brought together in straight lines by the placing of the pleats on both skirt and bodice. Sunray tucking on the shoulders and side skirt of a navy sheet frock moulded it effectively—crisp, white frills at the neck. The sort of ensemble one should always possess was an iron grey woollen from Jean Duverne. A plain straight skirt, u three-quarter length coat with tremendous width at the shoulders, and a generous turn-back collar were worn with a darling white pique blouse, which fastened with small pearl buttons slightly to one side of the centre front. Vandykes of the pique outlined the high neck and ran in rows down the puff sleeves. Maple leaves ol patent leather in navy and white were used on a navy sheer. White birds in flight swooped on the hat. An ingenious mushroom hat of red straw had four daisies—two white, two red—at the four points of its infinitesimal crown. Another simi-

lar hat was a black ballibuntal with four white feather birds flying round the crown. Afternoon frocks of printed chiffon were entirely pleated. A Jenny model of dark green chiffon with honey coloured flowers was knife-pleated all over and had a pressed-out ruff collar, loose-pleated sleeves, a dark green suede belt and green brilliant looped buttons fastening the bodice and belt. A plain black sheer had finely pleated sleeves decorated with appliqued flowers and leaves cut from a multicoloured print. Curling epaulets of knife pleating were placed just below the shoulder line. An enchanting dress which also possessed a little coat had alternating rows of pin-tucking and hand scallops all over it. A greige crepe frock was apron-like with a slit back and an extra much-gored skirt which fastened on with covered buttons down the back. A printed crepe frock also possessed an apron front, this time much pleated and tucked yet falling close to the figure. Next week I shall describe to you some of the svening gowns I saw at this same collection.