Opera Singer Brings “New Look" to Dunedin

Otago Daily Times, Issue 26778, 22 May 1948, Page 8

Opera Singer Brings “New Look " to Dunedin

By the Lady Editor

Dunedin women who have pondered long over the new “ look ” of Paris or London and having done sc turned disconsolately away from their wardrobes would be both interested in and envious of the models Miss Janet Howe, the star of “Carmen,” has brought with her to New Zealand.. These models, some specially designed for her, include several from the world’s most famous dress houses.

Miss Howe, who, incidentally, possesses a perfect figure, confesses that she is intensely interested in clothes, and also that .she has a passion for all shades of mauve and violets. She has no use for extremes of fashion, has ignored the passing fad for padded hips, which she says, is now quite out of date, and has welcomed the new and more elegant, more feminine version with delight. One suit by Giprine in a fine facecloth in a deep shade of violet, called ultra-violet, with a pencil-slim skirt, and a jacket, rather long, with nippedin waist. Its large patch pockets are outlined in a running-stitch in an ecru shade. A black suit by Norman Hartnell, is also of face-cloth, and has a slim skirt, this time with a fourinch slit, centre front. The coat is finished with three large oval buttons of guilt and topaz. A cloth of gold blouse is worn underneath. The hat, designed by Hartnell especially for this suit, features aigrettes across the front. , , Moire corded taffetas in a soft shade of parma violet is used in a newlength cocktail dress by Giprine. This dress is slightly shorter in front —perhaps a hint of the revival of a fashion of 18 years ago. Miss Howe’s hats are all models of famous designers, including Norman Hartnell, Charles Russell, Josephi, of California, and Arnold Constable, of New'York. To illustrate the prices charged by some of these designers, she described to the Daily Times how

a soft. violet felt ‘ tarn,’ which was once trimmed with grey veiling, but now boasted two large “ chqus ” of fine ostrich feathers, came to be an extremely expensive bonnet. The cost of its “renovation” was £11! It appeared that each “ chou,” because it was imported, cost the designer £2, purchase tax at 125 per cent, added another £2 10s, each, and there, without any labour or profit, was £9! Other hats, are composed almost entirely of flowers, not demure flat flowers, but large bunches of roses, tiger lilies, cherries, and orchids, while one delightful confection is made of large fawn feathers and satin ribbon. Miss Howe said that English women were unable to achieve the “ new look” altogether, because of the coupon problem, but in Paris anklelength gowns were seen everywhere. Evening frocks were either extremely full, with crinoline skirts and selfsupporting bodices, or were made on cleverly-tailored classical lines. Netbeaded, embroidered, and sequinned and probably made popular by the frocks of Princess Elizabeth’s bridesmaids—was seen everywhere, and some of these frocks, if models, were sold at anything up to £125. Austerity shoes had at last given way to those of feminine cut, betrimmed, platform, but not often of flimsy materials, as shoes were still on coupons. Miss Howe hopes to add several woollen frocks to her wardrobe before leaving New Zealand.