Fashions and Furbelows

Star (Christchurch), Issue 17833, 29 April 1926, Page 13

Fashions and Furbelows

NOTES BY SPECIAL CONTRIBUTORS.

“ OUR THINGS.*’ Velvets are in high favour, especially for indoor wear. They are now the supplest of materials; a much-liked ensemble takes the form of a skirt of crepe-de-chine and a slim bodice of coloured velvet in a slightly deeper tone, though the colouring could be reversed with good effect. Even landscapes can be seen traced dimly on velvet frocks just now; the pattern's are stamped on the velvet, and if in colours the hues are very faint; the effect is usually gained merely by the stamping of the pattern and the ‘“way” of the pile. But such gowns date too easily for those who would be economical in their dress matters. A pretty way with the flared frock is to have the flare open at the back of the skirt to show dainty little pleats or frills of georgette. The most modest of little fence collars often • finishes a velvet frock; it ties with very long ribbon ends that are permitted to hang low down. A black evening frock of Louis velveteen is a veritable asset; it need not be too dull, for its neck outline can be hemmed with tiny shade velvet roses laid on flat; and under each of its four flatly-laid flounces can nestle a love-knot of these wee flowers. Variety can be easily attained by wearing different blossoms.

Provided the Russian boots are high enough to show no expanse of light stockings above their tops, they are

both chic and practical wear. T'or which reasons they are to be commended. But the vogue is one {hat needs personal discrimination. Waistlines are suggested by a fold of the material or by the draping of the gown rather than by an actual belt or girdle. And the cut of a frock is well able to define a waist as much as is desirable. Paris is forsaking her recent love, the separate over-blouse or jumper, for she is wholly and entirely devoted to the one-piece frock and the ensemble. Which is not to say that either of the first-named garments is no longer to be had, but that the world which sets the pace in dress matters has forsaken them for the nonce. But here we are more or less independent of Paris and choose our own styles. Taffetas is constantly used as small appliques for other gowns, velvet, especially, though not entirely. Tango frocks arc all more or less fullskirted. The “dip and sway” demand such and the general languorous note of the real thing. * Onyx and diamonds are a favoured jewel combination, but the design must be original to command success. Rhinestones are used for decorating. NO MONEY FOR CLOTHES.

“Oh, it’s no good trying to look nice,” you hear a girl say dismally; “I’ve no money to spend on clothes.” But there are a great many sad little sights to be seen which have nothing whatever to do with money. Grubby underclothes, for instance, which -will show at the top of the frock. A faint, dirty watermark behind the elbow, worn with a short-sleeved frock. Twisted stockings. No petticoat when one is obviously needed. A pin put in at the waist instead of a stitch. Collars and cuffs pined on instead of tacked. Gloves with a split in them. A grubby modesty vest, obviously looking what it is —a "piece of something” pinned in haphazard. Hair that wants shampooing. Complexion that needs steaming— It’s nothing whatever to do with money. Untidy shoulder straps. One button missing or dangling loosely from a row of buttons. A soiled' handkerchief. A brand new tailor-made or wrapcoat with an old hat, old frock or jumper, old gloves and old shoes—proclaiming to the world at large that there wasn’t enough money to finish it all off; rather than an an old costume or coat cleaned and pressed, with new hat, new frock, new gloves and new shoes. No! It isn’t a question of money.