THE STRIPED WAISTCOAT.

Sun (Christchurch), Volume I, Issue 61, 18 April 1914, Page 7

THE STRIPED WAISTCOAT.

However much we may criticise some of La Mode's dictates, there can be no two opinions as to the diversity and attractiveness of the season's woollen and silk wool fabrics. Headed by gabardine, the list includes whipcords, poplins, the finest o.f suitings and face cloths, as amenable as chiffon to the exigencies of draping and bouffant effects. Each week now sees the array of smart three-piece suits added to at all our leading ateliers, ancLthere is no question at all but that the new and modern school of modistic thought which advocates an extreme floppiness of aspect is in the ascendant. There are, however, many charming little fantasies offered that stop short of the ultra extreme, and with the majority a waistcoat of sorts is privileged to play a leading role. Sometimes it is in the one splash of colour to a sombre scheme, while with a suit carried out in some voyant "nuance," such as "cherose," amber, or that strong yellowish tan, a black corded silk vest will be introduced. Then already we have plenty of data to go upon that linen and pique vests will, when seasonably required, put in an emphatic and assuredly welcome appearance. THE VOGUE FOE EOMAN STRIPED SILKS.

Under the modernised version it is difficult to exactly say whence came the original inspiration of such a vest, for example, as the one included in the adjoined original design of a typical early spring coat and skirt. The suit is carried out in the new bright shade of navy, that is yet not quite a royal blue. The skirt is of an uncompromisingly peg-top character, and very pleasing at that, the full upper draperies rendering slim by comparison the lower part, slight folds of which are drawn together beneath a twisted ornament formed out of cords of the material. The short sacquey little coat speaks for itself. It is essentially of the hour, the fronts falling naturally away- either side a waistcoat, fashioned of that effective Eoman silk striped in many colours. And it is worthy of note that this vest is as free as the coat and yet has form and a very distinctive silhouette, with cuffs to correspond of cavalier '' genre.'' Then standing quite away from the neck at the back is an up and down Napoleon collar faced with black velvet, a text for which is found in the. Eoman silk through which a black line runs at wide intervals. The hat is more or less a Louis XVI. plateau, poised high on the head and rather forward; it would accord well with,, the suit if of black tagal, trimmed with broad blue corded ribbon. A DIFFEEENCE OF OPINION. ..,

There is great controversy in couturiere. circles, and not a few are seceding from the ultra-modern movement, hinting darkly that they will revive the very severe tailor-made and the graceful shapely styles of Louis Seize, with stomacher bodices and more clearly defined shoulder lines. It is

significant that Miss Marie Tempest—who is an accepted harbinger of coming fashions—has left the modern movement entirely alone in her revival of the "Marriage of Kitty," Not only the dresses, but the very negligee exacted by the play, has a shapeliness imparted to the waist. The negligee of deep turquoise blue has the Louis period further accentuated by a ladder of little bows, graduating in size, carried up the centre front. While the .Dolly Varden suggestiveness, which is merely a later tempered expression of the Watteau, of the pretty blue and white spot ninon worn by Miss Marie Tempest in Act 11. is unmistakeablei Comparing these gowns with those selected by Miss Marie Tempest for " Thank Your Ladyship" certainly gives one to think furiously as to whether a real split will not shortly come about' couturiere circles. It will be welcomed by more than a few.— London "Observer."