MARRIAGE TO SHEIK

Timaru Herald, Volume CXL, Issue 20261, 9 November 1935, Page 10

MARRIAGE TO SHEIK

A beautiful Italian woman living in London has renounced her religion and become a Mohammedan in order to marry a sheik. She is Armida Giajo, 30-year-old daughter of Professor Edoardo Giajo, the Italian artist who lives in England. Her bridegroom-to-be is Sheik Abdul Hamid, 36-year-old son of an Indian chieftain and the first Indian to become a member of the Royal Institute of British Architects. Professor Giajo has given his consent to the marriage, and his daughter has now gone to Rome to receive her mother’s blessing. She met her sheik four years ago. “It is a tremendous step for my daughter to take,” said Professor Giajo, “but her life is her own. She has embraced Islam for the sake of her love for Sheik Abdul Hamid. I have given my consent to their marriage because I believe their love for each other is very great.” Professor Edoardo Giajo has exhibited at the Royal Academy on three occasions.

SHORTER SKIRTS FOR EVENING WEAR

How much would you like to know that you are going to wear shorter skirts to your evening clothes? Not much? Nor me. But what are we all against them all? writes Jean Bumup, in ‘Britannia and Eve.’ There is more than a whisper about it. It gets louder and louder, becoming a shout. The principal, I think only, offender up to the time of writing is Marcel Rochas, brilliant designer who usually

runs neck to neck with Madame Schiaparelli for novelty, ingenuity, and impertinence. Well, to tell you the worst first, he is showing peacock-tailed evening gowns, long and full at the back, up to mid-calf and even higher in front. The rest of the evening dress news is pleasant. Other Rochas evening gowns are lovely. Highish necks, demure, tailored effects, bell skirts, exciting materials, big sleeves. You still have no hips in the evening, still wear short trains, slits in your skirts (these are lasting surprisingly), high in the front, low in the back necklines, intricate shoulder drapery, the slipping, off-shoulder decolletage, fluffy tulle, and net ruffled shoulder capes. Some evening dress skirts take the straight road all round, and then their fullness is bunched up at one side. Some start fullness just below the belt, from shirring. Norman Hartnell’s evening dresses nearly all fit tight to hips or knees, then billow, or split, some to the knee. He has square, low backs with high square necks. Full chiffon sleeves

gathered at armhole and wrist; pretty, this. One satin star-patterned dress is sewn so delicately and infrequently with sequins that you are not certain they are there; the tantalising glitter is like something seen in a dream. Worn with a blue tulle cape, the same, elusive sequins adorning its ruffles. A poetic dress, a dream of a dress, for a soft-voiced dream of a woman.