LONDON FASHION NOTES

Waikato Times, Volume 124, Issue 20718, 31 January 1939, Page 3

LONDON FASHION NOTES

HEAD-DRESSEB FOR EVENING (From a Correspondent) The love of “dressing up" is one of the earliest primitive instincts of feminine nature. Watch a tiny girl with a hand mirror. She immediately puts something on her head, showing how the love of personal adornment is born in every daughter of Eve, and usually It is the head that gets the greatest attention. The parly season is upon us, bringing with it the newest fashions in carnival hats, without which no party is complete, and these have become such artistic affairs and so far removed from the paper hats out of crackers that the grown-ups are as keen to wear them as the children. It is only a short step from these to the modern head-dresses about which there has been so much agitation this season. After hesitating for some weeks, smart women have decided they like, and will wear, head-dresses In the evening, and though I suspect the rivalry of the carnival hat Is responsible for some Inventions of the designers, one has to make allowances for the sense of the ridiculous, which creeps into every new fashion. The Lovely Head-dress On the other hand, many lovely head-dresses are flattering to their

wearers, and it certainly Is an easy way of adding a “party” look to a simple dinner gown. I have talked of flowers so often that It Is unnecessary to mention them, except that for the hair they are increasingly popular, placed as a diadem or in bunches, or in high “piquets" fixed in a wreath behind to hide a comb, or again, held with clips above the ears, fresh and enchanting in every way they are used. At the theatre I saw an enormous bunch of white violets placed at the side of a lovely dark head—l am still wondering how it was secured, possibly by an elastic concealed round the coiffure. Tulle, in black and colour, makes many charming head-dresses. A large chou of stiff tulle attached to a band of velvet is worn tilted forward, and gives a suggestion of the toque of the “bustle” pe od, which is fascinating with a strapiess evening gown. It would seem that the less they wear for the bodice the more they use to trim the head I Aigrettes, birds of paradise, and ostrich feathers are used in great profusion. Two tips in deepest blue nestled in the golden curls of a young girl in a flounced frock of deep blue tulle. Some designers have created ostrich feather wigs, but I do not think they will have much success in this age, when every girl’s head is beautifully cared for and carefully dressed. Lace mantillas thrown over a jewelled comb or a single large flower are fascinating, with matching lace dresses, and Molyneux is very fond of a large velvet bow worn well forward on one side of the forehead. Antoine strews minute velvet bows amongst the curls; they are posed as lightly as butterflies, and held by tiny combs—fascinating on a blonde head. Combs and barettes are back, to keep up those rebellious wisps of hair in the nape of the neck. For the day ; time, they are made as invisible as possible, but for the evening they are jewelled, or have flowers, or tiny feather birds attached. Decorative Sleeves Although the crinoline and picture frock predominate amongst the evening gowns worn this season, there are still many women who prefer the long, slim line which emphasises the grace of a beautiful figure. To compete with the more decorative gowns, Molyneux has added elaborate sleeves to several slim models, often in contrasting colours. This is particularly effective when the dress is in a dark colour and the sleeves a brilliant contrast. He had a lovely model in black, with coral red tulle sleeves —very wide, full, and puffed to the elbow. Another in mulberry satin, with orchid pink sleeves spangled, to match, and an enormous spray of orchids on the corsage. The model sketched was in a lovely shade of bright dark blue, with tulle sleeves in a rich wine red. The velvet bow in the hair was Hie same colour as the straps and bows at Hie neckline.