VOGUES AND VAGARIES

Sun (Auckland), Volume III, Issue 639, 16 April 1929, Page 5

VOGUES AND VAGARIES

I I BY MADAME JEANNE VARREZ Running over some of the new “eu i sembles/* I note that black-and-white once again plays an important part !in schemes destined for daytime i wear, and that one of the most effec i tive among them is the old black-and-white “shepherd’s plaid’’ in a new hopsack. Very skilfully made tip, one especially attractive suit was fashj ioned with a circular skirt, with the j fulness centred in the front, joined to ja blouse of white crepe with black ! silk hem-stitching and tiny crystal ; buttons, the neck being pleasantly finshed with a straight reversible nar■ow scarf of white and black satin. his was accompanied by a short, 11 tailored coat, with strapping of ;eil material defining a slim and bovsh hue. Another notable suit was in one of the latest silk-and-wool fabrics, in I black. This was worn with a blouse of satin in a delightful apricot hue, a note repeated in the lining of the perfectly tailored coat Most alluring, too, was the accompanying cloche of ipvicot felt and straw, with an onyx-mid-diamond pin subtly introducing he essential little note of black. Heavy crepe likewise materialised a .tennis frock that had a sleeveless j cardigan complement in loosely woven i Shetland, and was further accomI panied by the essential warm while | woolly coat of ampler dimensions for | wear between games. Even at this intermediate stage of j fashions, colours and fabrics ate i significant of the coming vogues. One | quite decisive “pointer’’ is to be ob i served in the introduction of numer- ' ous graduated colours and design I into wool and silken fabrics. A beige j ensemble, for instance, may contain | a wonderful variety in the beige-brown , shadings. Red from the pinky tone to Ito the darkest claret hues, is intro duced into various materials. At

Cannes, the best sports clothes unmistakably demonstrated the colour-and-fabric-blending trend. Natur- j ally, the over-weave of silk or wool j assists in the effect. Adroit manipulation of light and shade is a further factor that will play its part henceforth in the dress world. The plain and patterned, dull and shining surfaces are the ever-helpful allies of the model-maker intent on securing novel effects in a single range of colouring. Velvets and satins lend themselves admirably to this sort of treatment, as past experiments have already and most attractively proved. The vogue will be extended to include the now enormous range of new ! woollen crepes and voiles. Pleasing features among the evening modes are the capes or shawllike wraps which, in many instances, form part of the frocks. One eni semble in silver lame and grey chiffon had a full circular chiffon cape tied , with a scarf of the same material. These floating, ethereal draperies are most alluring on the light wearer. There was also a certain highway- 1 man’s cape in black satin, boldly lined with red velvet, that made a startling but perfect finish for a frock composed entirely of chiffon in the same brilliant red. With a “classic.” frock of palest pink satin, exquisitely draped, was worn a gathered three-quarter circular cloak in a somewhat deeper shade of pink, very perfectly “in the picture.” For those who are not overmuch iif love with the cape, there is the übiquitous “jaquette”—in many varying lengths. Much “helped” by a , smart, short jacket embroidered with black beads and sequins, with longiitted sleeves, is a simple frock ot black faille. Similarly. a “little” mauve frock can look charming with a long coat of shaded mauve and , purple chiilon. with loose sleeves in the kimono fashion. Numbers of floral chiffon coats and capes have j ring- velvet linings. And there are endless varieties in dinner or bridge coats materialised reI speetiveiy in lames, brocades, floral .tissues and painted chiffons.