FASHION NOTES

Taranaki Daily News, 18 July 1929, Page 16

FASHION NOTES

FROM A PARISIENNE’S NOTEBOOK.

(By Yvonne Rodier. —Special to News.)

It is no exaggeration to say that quite eighty per cent, of the smart gowns in modern collections are made of patterned fabrics. In the case of the floral, chiffons for evening dresses, each individual blossom is frequently outlined with gold tinsel thread, or lustrous beads. Inevitably, the woman who, despite the vagaries of the moment, chooses a virtually untrimmed frock of plain dull-surfaced fabric stands out with distinction amongst a confusion of riotous colour. Typical of the less flamboyant mode are the gowns cut on mediaeval lines, their classic note emphasised no less by simplicity of material than grace of design; a simplicity that finds expression in the dull-surfaced textiles aforesaid. Imagine a close-fitting bodice, high at the back and cut square in front; sleeves tight-fitting to the elbows and the seams open from elbows to wrists so that the lower halves hang in long square panels. Imagine this gown expressed in dull Indian red silk, and you have a good idea of the particular cachet attaching to the choice of the well-dressed woman.

Reds —with black —are the leading colours for evening frocks, though the new orange shade is fairly well represented. And, despite the übiquitous printed chiffons, lace holds its own . very well. A real “dream of a frock,” seen

afc a recent smart gathering, was of pink lace made with a deep oval-shaped shoulder-cape, while at the hem was a flounce “en forme,” finished with lace of a slightly deeper shade. Among the indispensable day-time “three-pieces,” beige of the “mastique” shade prevails. The mode of the moment ordains that jumper, hat', and suit shall be of slightly different tones that blend together in a pleasant harmony. Scarves and millinery likewise “tone in” with the pretty crepella suits that are expressed in many charming colours, all shades of grey being first* favourites, with an alluring new parma-violet tint. “Basque” berets are worn by smart golfing ladies of youthful years. Their older colleagues prefer more “trimmed” and fanciful berets embodying the voguish tricolour theme; as, for instance, a centre top in yellow cloth, then a band of brown, followed by a band of beige. These “tricolour” cape, needless to say, demand an ensemble carried out to the same colour-plan.

Tweeds and navy blue reps seem to have it mostly their own way among th» coat-frock models. A clever coat line is given to a typical navy coatfrock by the modish addition of a short basque, cut “en forme,” and made removable by the adroit device of attaching it to a narrow patent leather belt. A frock of this genre is cut perfectly plain, with a series of lines embroidered round the hips above a straight kilted skirt. The bodice fastens high round the neck under a chic little white piqtie collar with an edgimr of organdi. A pointed.tab fastens the top of the bodice under the collar, and a smart white pique bow appears underneath as it is drawn from a matching white vest, forming a single straight Imo to the waist.

Among significant dress details, the jabot still figures picturesquely. It is seen in colours harmonising with individual ensembles, as well as in the conventional white or ecru that provides the “lingerie” finish to so many soberhued daytime -owns.