Dresses of the Week

Star (Christchurch), Issue 18614, 16 November 1928, Page 15

Dresses of the Week

Written by

“ STELLA "

What one notices about clothes this summer is their gaiety and grace. It begins with the fluttery ways and flowery patterns of afternoon and evening dresses, and shows itself a touch here and a touch there, even on the simplest every-day things made for hard wear. We have got away at last from the rule of dull uniformity, and “no trimmings at any price.” The smartly-dressed woman of today, regardless of her means, is not satisfied with wearing a merely pretty frock. She insists that there shall be at least one style-note of distinction about each costume, even though her clothes must be made according to the same general pattern which the rest of her world employs. Each frock must bring out the good points in her figure and minimise its faults. It must exactly suit her type, and yet it must not go so far in following fads that anyone can date the year of its making by the features it displays. She demands gowns that will afford her real' pleasure in wearing and will give others pleasure at the sight of her in them. Moreover, the price of her models must fit her purse. The clever woman of to-day looks the shops over carefully with an eye to materials used and detail employed on the most expensive frocks. She seeks for modern notes. The stout woman may observe with dismay the close-fitting hip in the newer mode; then she discovers with relief that a cape, a slightly blousing bodice, or an irregular hem-line modifies to a surprising extent that tell-tale curve at the back. She sees the delightful possibilities for her type in the diagonal line in bodice and skirt, in the points described by the hem-line and in the bow with long ends that, correctly placed, makes her appear much smaller than she really is. The slender woman notes how a huge bow at just the right place in the back gives to her type of figure an effect of butterfly lightness she has long desired to attain, or a neck-line that is new to her wardrobe gives an appearance that is decidedly becoming. These facts are easily established, but when it comes to finding a frock of the size, colour and materials one desires, and which possesses the becoming features one has noted, and which is yet within the limits of one’s purse, that is quite another thing. It is this difficulty that drives the clever woman to evolving her own costumes. There

is no need to sacrifice all the pretty little fancies of the -hour for the sake of having a dress one will enjoy as long as it holds together. Take the cape, for instance. Some style experts prophesy that the cape will be with us for a long time, others do not agree that it will remain in favour. However, the woman to whom a cape is becoming may well avail herself of the mode. It is only a matter of a few moments to remove the drape whenever one tires of it.

The same may be said of points on skirts. An allowance for a new binding or a hem, when cutting the material, enables one to get an entirely different hem line in short order, and the straight hem is always “in”. If you wish to be really “chic” on the colder days this summer you must listen to this. Your morning suit should have a very short coat, and beneath this your jumper should have at least two broad stripes round the hips, and these two stripes should show beneath the line of the coat. It is really a delightful effect. From a distance it looks as if your skirt is mounted on to a striped basque; in black and white it is really very chic. There is yet another thing to be said on the subject of jumpers, for the newest are handknitted with designs in different colours to represent collars and bows, most attractive, and to anyone who is used to tackling knitting problems it should be quite a simple matter.

Among all one’s summer clothes, nothing has quite so much charm and allure as the simple “tub” frock. I think the feel of linen, cambric, gingham, voile, beneath the fingers takes us back to nursery days apd the associations such materials had with long, hot days of play in gardens and on beaches. We remember how happy we were then, and the reason that we cannot resist the “tub” frock is that subconsciously we are trying to. recapture those old joyous, care-free days. At least, this is my opinion. Cotton materials are numerous and fascinating this year, and hold pride of place where these play frocks are concerned. But you need not have cotton for your

“tub” frock. You can have silk patterned with exquisite floral designs that wash and wash and go on improving with washing. You can have a mixture of silk and cotton, which comes up in clear, definite colours best, like grass green, emerald and jade, marigold, purple, and that bright, hard

red which is always perfect with an out-of-door background. Artificial silk can now also be used for washing frocks, though it must be more carefully handled than cotton, of cciurse. It has been wonderfully improved, and has a much closer weave and a lovely surface. But it is the cottons that have surprised us most this year. There is no “housemaid’s morning frock” look about the modern cotton frock. They have become creations. Cotton frocks have taken on a grownup air. There is more than a hint of tailoring in their cut. They are very particular about trimmings and acces sories, whereas before a simple binding was all they aspired to. The simplest cotton frock is given an ensemble air because it has a real or make-believe bolero, and the hat worn with it usually has a related look. Materials are mixed. I have seen linen dresses given a frilled front of crepe de chine, just as organdi may be put with taffeta and spotted muslin with silk lace. The patterned materials have done much to give the simple cotton frock a higher place in the dress world. I saw one frock of pale blush pink, the pin spots being of a darker strawberry shade. The hem was scalloped, and a wavy line of stitched scallops ran above the waist to give the bolero illusion. Just below this was a pink suede belt, tip ped with a narrow line of white, and the hat of soft coarse straw was white, underlined with pink, and trimmed with a broad suede band.

The floral chiffon patterns have been copied on the voiles with great success —especially that popular leaf one—and really in the distance it is impossible to tell whether the frock is of chiffon or voile, especially if it is worn over a silk slip.

There is a good deal of white to be seen in the latest modes, and I read that dress creators are trying to bring it back again, but it has always a “touch of colour.” To my mind, white does not come up to the lovely soft shades of pink and blue, or the bluey eau de nil and pinky beige. I notice a great many girls are wearing the three-cornered scarf made of net or georgette the same as the dress. This is an excellent idea, for it is a little protection and looks most attractive. The French are very wonderful in thinking out all these little things, which do so make or mar the tout ensemble.