FASHION NOTES FROM FRANCE

Sun (Auckland), Volume III, Issue 726, 27 July 1929, Page 25

FASHION NOTES FROM FRANCE

. By LUCIENNE GUI. Patterned chiffons and georgettes having come to stay with us so definitely. we have to use them in as many novel Ways as possible. Flowered chiffons are therefore most extravagantly mounted over foundations of gold or silver tissue; tiny gold, silver, or crystal beads are sewn in masses on the flowers in the pattern; and, occasionally, a thick applique of the blossoms is added to form an “important” hem to an otherwise simple frock. A frock of pale rose and yellow chiffon had the neckline indicated by 3.1 broad bandof minute gold beads. which gave the effect of a delicate necklace of fine gold chain work. Little “flowers” of the beads were scattered over the frock at intervals, sparkling like jewels. I THE GOWN OF PEARLS While on the subject of beads, i must tell you of a frock of dead white chenille lace—a favourite fabric with most designers just now. The pattern was picked out with hundreds and hundreds of seed pearls, a device that proved most becoming to the young girl who wore it. She had a gardeniacream complexion, and wore her nightblack hair parted in the centre, curling behind her ears and on the nape of the neck, but brushed smooth and shining on her head. A rope of twisted strands of seed pearls was the only ornament worn by this demure debutante, whose grandmerc. while heartily approving of the frock. could not understand why it was cut so low at the back! She blamed American women for their influence on clothes in France! LIVING FLOWERS To return to the chiffons, it is not sufiicient to elaborate them with panels. godets, and wispy scarves. The pattern must be cut out, and then an pliqued on again with fairy sewings} of contrasting silks; as an alternative.‘ patiently buttonholed or picot~edged petals may be added, until the frock looks like a living flower. Such an orgy of handword is the French—woman‘s joy! 9 PETTICOATS AND SLEEVES In some collections, evening gowns grow more and more decollete; in others, there is very little difierence

between dance frocks and those intended for smart day wear. One big designer showed all restaurant frocks with little baby sleeves quite four inches below the shoulder! This same designer is making determined efforts to bring back lacy petticoats! They are certainly very charming and very womanly, but I do not think we in Paris will wear them very much. Cami-knickers with wide flared legs are our choice for wear with frilly frocks; perfectly-fitting knickers on a shaped yoke, which clasp the knee with lace or satin bands are what we like to wear with sports suits and princess gowns, for they give a perfect line when allied to the newest corselette of thickly-woven Milanese silk. For very slight figures, these corselettes are not boned at all, but fuller figures require slight boning over the hips. BELTS WE MUST HAVE Belts continue to find favour in the eyes of the Parisienne. She has the top of her walking skirt belted and buckled; her jersey and her overblouse must similaVy have belts to match other accessories. There are narrow belts of soft-coloured plaited string, fastened by plain gold or silver buckles, and accompanied by bags of woven string to match; there are belts of dyed webbing, with scarves of nunting or coarse tussore in the same strong colourings. Bands of woven wools, like those with which we used to tie up curtains; gros grain ribbon, in one colour, or having several narrow lines of different colours stitched on a wide foundation —all sorts of things are used for the übiquitous belt. FOR EVENING WEAR The jewelled belt has no longer any attraction for us. Severe bands of stitched satin, with plain buckles, cr clasps of crystal, onyx, coral, amethyst, or any semi-precious stone to go with the gown are worn on the most festive occasions. The theme is picked up by the shoes of plain satin, ornamented by matching buckles. Then must come a flat satin pochette with a mount like the buckles, so you see it is quite a little business to buy this belt. I must tell you that this “finish” is only for the jeune fille frock, of lace or mousseline, which has the waist-line clearly defined and is not at all decollete. SASHES AND BOWS When we are a little tired of the long, clinging, princess line, we break it by a sash like the one we loved when we were very young. But the hows are such as we never had. for the great loops —four or five of them —make an important bustle, which produces a Du Maurier silhouette. Chiffon taffeta, lightly wired lace, and velvet of a contrasting shade, are all used for the bustle sashes. It is not strictly necessary to have the sash; the bow alone may be perched on the back of the frock, leaving the line in front unbroken.