THE LADIES’ CORNER

Waikato Independent, Volume XXIX, Issue 3160, 9 November 1929, Page 6

THE LADIES’ CORNER

AN AMUSING LITTLE SCARF. An amusing little scarf, worn with a sheer black semi-evening dress, was noticeable for its unusual method of adjustment. The material was jade-nnd-blaclc printed chiffon, the full width of the fabric being used and the length equal to about the measure of the wearer’s arms, when both were fully extended. This resulted in a scarf sufficiently voluminous to afford some protection when desired, both for arms and neck. One end was folded to about half its width and attached to the back of a short pnde necklace. The other end was picoted in a long point and tied through a matching jade bracelet worn on the right arm. This adjustment made it easy for the wearer to use her right arm in arranging the scarf at will. By twirling the jade necklace a little to the right the scarf came over the left shoulder and could be pulled down over the left arm, the other side being proteced by the scarf end attached to the bracelet worn on the right arm. As a longer necklace was also worn, the short one of jade coidd easily bo removed without detriment to the effect of the toilette, the scarf being then manipulated in any way most convenient for the wearer.

FANTASTIC NECKLACES From Paris come fancy wooden necklaces, which arc being used as summer jewellery. The beads are twisted together in many strands of blended colours. i This fashion for wooden beads was culled from the Nubians, who wrap themselves in a fantastic fabric and decorate that with beads, says a writer. The vogue has come West —that’s all! You can now find woods that were once only used in the precious sense of cab-inet-makers as veneer “turned” into solid beads, studded with golden or silver nail-heads, in true Nubian style. They really look lovely in the form of necklaces and bracelets. But rice and cotton are creating a lighter weight for summer wear by being compressed to form string upon string in different colours. knobbled together with contrasting colours.

WAISTLINES OR NOT?

On thinking over what the designers have shown us this season, it is easy to discern two distinct schools of thought in this line of business. Some of the great ones bring the natural waist into their scheme of things; others prefer to ignore it. One went so far as to say that the couturier who made an evening gown with a high waist for a middle aged woman should be shot at dawn!. There are two ways of emphasising the waist: the obvious one of making a short little bodice and attaching the skirt thefeto, and the more subtle way —the artist’s way—of folding, piecing, cutting and draping until the perfect model is evolved harmoniously to mould the bodv. Thus is the waist marked for those who can stand it. For those to whom it is kinder to ignore the waistline, the length of body is'insisted upon. The wise Parisienne leaves this question to her couturiere, rightly feeling that this one knows what is best for her. *

GOOD DESIGNS ARE IMPORTANT. How often we sec a frock, into which excellent needlework has been put completely ruined through having been cut from an inferior pattern. How often we come across a piece of embroidery, the result of hours of patient toil, which is totally ineffective because the design is weak and the colouring poor. There is now no excuse for this waste of effort, for certain designers are making it their business to provide the finest patterns on which to base the work. For example, one artistic woman sells sets of designs, taken from old Oriental rugs, as guid&s for amateur rug-makers. How much better than trusting to inspiration, or to inferior patterns which possess neither character ndr distinction.

Another woman provides designs for the petit-point handbags that arc now so fashionable. When you compare her drafts with the more ordinary patterns, you realise what an infinite advance they represent. Similarly, there is an ombroidoress’ guild, which exists to supply its. members with designs, largely of the “period’ ’ order, that are w r ell worth copying. An interesting set of designs can be culled from the Kate Greenaway books, the vogue for which is now returning. The illustrations lend themselves to copying by means of tracing paper and pencil, and some charming compositions for mats and cushion covers may readily bo obtained in this way. I have also seen initials of great beauty taken from chapter headings drawn by Aubrey Beardsley, and used for marking linen.