OUR PARIS LETTER

Star (Christchurch), Issue 17216, 6 December 1923, Page 9

OUR PARIS LETTER

(From Pauline Courlander.) “ EXPENSIVELY SIMPLE.” “ Pimpant ” is the French word, but it is rather difficult to find just the right word in English that would describe the character of the new dresses. “ Alluring,” “ pert,” “ artfully simple,”

“ simply artful,” are some of the adjectives that might express a certain expensive simplicity that marks most of the day gowns and costumes. The simplicity is in the cut, which is so simple that only a master hand can

carry it through successfully, and the expensiveness is accounted for by the exquisite embroidery or the quality of materials “COLOUR TOUCHES.” Most of the prettiest frocks have splashes of bright embroidery concentrated on one part of the skirt or bodice. Geranium red, green and yellow embroideries, massed together as a panel or border on a black or navy blue frock, are quite correct. One famous house is specialising this season in tailor-made frocks of navy blue, black or brown reps with colour *' touches ”; and here should be noted a young and simple navy blue frock with the entire skirt covered in a scroll design of red and white soutache. TAPESTRY TRIMMINGS. Black satin is the foundation of a gTeat many frocks. Here is one with a tight fourreau and long sleeves fitting closely to the arm. a loosely draped collar, and a sleeveless tunic of blue wool-embroidered tapestry reaching to below the knees and there spreading rather wide like the dancing skirts made familiar by the Russian ballet. BUSTLES AND FLOUNCES. There is a regrettable tendency in some skirts to bunch up behind and be shorter at the back than in the front. This is not a verj" becoming fashion. A meaningless “ bustle ” does not add to beauty of form; it must also be a constant worry to its wearer, who can never be quite sure whether the folds are correctly replaced after being sat upon, or whether they have been crushed out of all recognition. The shaped flounce at the end of a skimpy, short skirt is another fashion that may be admired at a distance as something new, but it should not be included in a limited wardrobe. There is something unrestful about both these fancies of the moment that does not go well with the general atmosphere of luxurious quiet that hangs about our clothes. AFTERNOON GOWNS.

For afternoon wear black or white is recommended; either of these keeps our affections longer than a bright colour. Black satin was the medium chosen for one of the prettiest frocks seen at the recent dress-shows. The bodice was almost fitting to the figure, rather long waisted and buttoned down the back with a row of small pearl buttons. The neck, cut straight from shoulder to shoulder, was outlined with a strip of white satin and a line of embroidered braid; the plain skirt was slightly draped into the left hip and there caught up with a carved ivory cabochon. White silk stockings and black velvet shoes with carved ivory buckles were to be worn with this study in black and white. A white, or rather ivory, crepe de chine chemise frock was ankle length and narrow, and had a sort of shirt front embroidered in old gold silk and soutache. The neck was V-shaped in front and had a pleated cape collar at the back. The model was sleeveless, but long loose or tight-fitting sleeves would not interfere with its lines and general character. EVENING “ CREATIONS.” Thick silk poplin is used for some charming black and white frocks, adorned with gold or aluminium em-

broidery. On the whole, afternoon gowns are made in fairly solid materials, the flimsy or gorgeous ones being left for evening wear. Tucked tulle and net have already been mentioned; they are made up into wide skirted dance frocks in flower-like colours. The crocus and anemone must have inspired the dyers, or there are lovely shades of gold, mauve, blue and pink worn over taffeta or satin under skirts of the same shade. Beaded georgette is offered to our admiring gaze; the beading is generally used to emphasise just the line that the dressmaker wishes to emphasise, and the most exquisite work is put into it. Sometimes the entire sleeveless bodice is covered with bead work, but more often thin lines are traced over the frock.