VOGUES AND VAGARIES

Taranaki Daily News, 20 July 1929, Page 18

VOGUES AND VAGARIES

FRILLS, FADS AND FOIBLES. (By Aladame Jeanne Varrez), r Paris, Alay 30. The dress shows continue to demonstrate slender hip-lines, hems that are even except for dipping draperies, and neck openings that are square and collarless, or else round with carelessly draped monks’ collars or little hoods. This ‘"capuchin” back idea is becoming increasingly popular. It appears alike on frocks, jumpers, blouses, and evening coats. In a representative Paris salon, I noted a neat morning dress of black jersey, with a long turiic-top, a straight skirt, a black belt, and a monk’s collar over which was set a narrow' collar of white pique, the pique note being repeated in narrow bands at the wrists. There was also a satin frock showing a capuchin back and a yoke front that" achieved a charming softness of line. This dress was cut with a fairly long bodice which pouched straightly at the sides and continued over the hips, forming a kind of yoke -with a point in front which repeated the line of the neck. Beneath this yoke the skirt fell full and circular.

A propos of skirt fullness, the treatment is more and more varied and apparently knows no rules. Such fullness can be concealed in pleats which go from the side seams right round the back, leaving the front section plain. Alternatively, the fullness may be hidden in large pleats on one side of the skirt, or the pleats may be given a fan-

like finish in the same position. And there are other methods too numerous to detail.

A frock that attracted attention in another important salon was a simple black crepe de chine model cut’straight, and finished with a narrow, belt of selfmaterial at the waistline. On one hip a square of wiiite silk was inerusted, while another square was set on the bodice in front of the opposite shoulder. The short sack coat that went with the trock was adorned with a similar incrustation.

The ensembles note is illustrated in evening as in daytime toilettes. Very typical is a white georgette ensemble, the dress of which is simple and untrimmed save for jewels, while the threequarter coat has a high short collar and heni-trimmings of white fox fur. Yards and yards of fabric are used for the filmy frocks as well as the socalled robes de style. The deep “U” decolletage is one of the most popular, and frequently has flesh tinted chiffon to build up the opening and give a circular neckline. Ostrich feather fans are again in evidence on gala nights. Polonaises, brntles and huge bows continue to make the backs of evening gowns “important.” Trails of flowers are likewise reappearing. Flowers are frequently made of the figured material which fashions the frock they adorn. Country clothes are cheering and amusing. Wool and silk jumpers still incline towards the Cubist movement, but these mathematical puzzles are so softly shaded and adroitly blended in loose-square wool-weaves with bold overstitching that they avoid blatancy. Stripes are equally modish, and these too are shaded to suit fuller figures. The very latest short “sports” skirts are beautifully cut and fashioned, with the pleated model for ever predominating. Newer, however, is the skirt of circular cut, plainly manoeuvred at the top but widening as it nears the hem. Every godet is so dimly stitched and pleated above the knees that the flare does fly and interfere with the enthusiast’s game. Navy blue flannel blazers are in direct imitation of the public school genre, and are therefore most practical little coats for slipping on over gaily striped shirts and jumpers.

There are some intriguing braided hats for wear with tailored suits. 'These novel millinery models may be in very fine straw or frabric but they are braided all over in such a way that the effect is of finest embroidery, - ‘