FASHIONS FROM PARIS

Taranaki Daily News, 6 October 1928, Page 18

FASHIONS FROM PARIS

FROM A PARISIENNE’S NOTEBOOK. (By Yvonne Rodier.—.Special to News.) Paris, Aug) 16. The new line, emphasising, the couturier’s determination to break away from the straight silhouette,, is particularly in evidence at the early shows. Full hems and bias lines spring from a raised and curved waistline. Gone are the straight narrow wrap-over models. Several of the new creations have full deep pleats at the sides, dipping in points at the hem. They are quaintly reminiscent, in fact, of the bld basqiied coats that were worn by -soldiers and courtiers at Versailles during the three Louis periods. Versailles and its lovely ghosts are also influencing the trend of the toilette de soiree. Fuller and fuller are the evening gown effects, and increasingly sumptuous. The draped cross-over-back and front—is the prevailing decolletage vogue. Some designers are trying out the style of the high-neck-in-front, close-fitting, with the back cut round or square or draped in a very low point. Everything points to a general break-a Way from the erstwhile übiquitous round or oval neck. The elaborate decoupes which constituted the approved trimming effects of last season are now being replaced by button trimmings.. In tho cage of one outstanding model, circular rows of buttons appeared around a smart decolletage, .with another . row down the back of the gown. Pleasing,, no doubt, to those enamoured of buttons per se. But there are many women who ques tion the taste of this queer form of embellishment. Rows and rows of buttons that serve no practical purpose can scarcely be considered “bon ton.” Though the vogue of the large bat has been established in some measure, many of the very smartest millinery models illustrate the turban or toque modes that make a perennial appeal to the true Parisienne. ■ Dull surfaces and cire effects—thanks to the flexibility of the modern “paille” —-are plaited together to make some arrestingly attractive little models. The favourite finishing touch to the braided turban is a huge bow or “chou” placed over the right ear. Among the capelines, the large drooping brim of cunningly uneven curves is a notable “winner.” Such hats are simply trimmed—though with beautiful adroitness —with fanciful ribbon. For very smart occasions a mount of flowers, or feathers, or one expensive osprey, is the milliner’s more elaborate choice. Felt are also seen in large picturesque shapes, pas telhued, with wreaths of wax leaves round /.he crowns.

LONDON FASHIONS. MODES FOR THE COMING SEASON. (By Diana Dane.—Special to News.) London, Aug. 16. Many a charming gown in the early collections is accompanied by what is termed a “coatee.” This, however, is merely a courtesy title, for the slender wisp of flimsy fabric can scarcely claim to be a garment proper.’ Yet it is worn, with sleeves or without, in sequined chiffon over a straight, slim evening gown; in plain ninon over a printed silk day frock, in printed chiffon over an unpatterned crepe dress. Best and prettiest of all, perhaps, is the tiny taffetas coat that form’s the last-minute complement to the tulle dance frock, both coat and frock being finished with narrow taffetas ruches. Alousseline de soie, printed and plain, is largely taking the place of chiffon. It is a rather more hard-wearing fabric, though equally adaptable, lending itself to draped effects, tucks, shirring, gathers and pleats with the same ease as does chiffon. Several leading French designers are exploiting it for evening and daytime models. The season’s daytime colours, so far as can be judged at the moment, are: beige, putty, various off-brown shades, blue, black and grey, tho inevitable black-and-white ensemble being, of course, much in evidence in Paris and the southern resorts. Printed fabrics for morning and afternoon dresses and suits often have black foundations on which are printed designs in dark red, orange, green .or rose. These crepes are really much prettier than they sound, and have the additional advantage of keeping fresh-looking much longer than those in the lighter shades. Flashes of bright orange, vivid green, yellow and Royal blue are seen on white sports suits, in the form of* cardigans, belts, scarves and hat-hands. Evening colours include green, especially the paler tones, various blues, rose and mauve, with plenty of all white and all black frocks by way of relief. Beaded and sequined gowns are “in” again, glittering effects being aimed at to a great extent when evening clothes for the older woman are in question. A navy and putty-colour crepella three-piece suit seen this week may help those who are a little undecided as to the colour and style this useful ensemble should take on this season. The skirt was in navy crepella, while ’the overblouse was in putty colour, banded tightly over the hips with navy and having navy cuffs to the long sleeves. Over this was worn a putty coloured sleeveless cardigan, cut on cross-over lines and fastening with three navy buttons well round to the left side. This also had a band of navy crepella at the hem. With a putty hat lined and banded with navy gros-grain, this little suit seemed to mo an ideal solution of the three-piece problem as presented at the moment. A pretty development of the fichu vogue is the length of material draped low over the shoulders to the front of the bodice where it is loosely fastened, tho ends being then drawn over the sides to the back and there tied in a tiny knot almost at tho waistline. In plain pr . spot net, georgette or lace, a fichu like this will “make” a simple flowered silk frock. Tho latest motoring hat is made rather like a Dutch bonnet ami is produced in super-light felt, in various soft straws ami in ruehed taffetas —amt the aiceet of all is the taffetas bonnet!. .