FASHION NOTES.

Auckland Star, Volume LX, Issue 230, 28 September 1929, Page 4 (Supplement)

FASHION NOTES.

THE BEAUTY OF PARIS. WHITE SATIN WEDDINGS. (By A PARISIAN BXPEKT.) "Bagatelle," in the Bois de Boulogne, is weaving its loveliest aspect just now, ami in the sunshine the beds in the borders are a mass of colours, from rose, in all its shades, and yellow, from the delicate lemon of the water Klies, to the rich orange of zinnias and deeper gold of marigolds. As a foil, there are beds of silvery mauve and tall clumps of rose-purple phlox. The air is sweet with the fragrance of La France, of the cool "teas" and of the rich crimson Jacqueminots or Eohans. Fashion still favours the warm, coppery-tinted roses of recent date and these are well represented at Bagatelle. Many family parties come out of the city to spend the bright . . hours in the garden, and mothers, armed with the bit of embroidery which is inseparable from the Parisienne out of doors, sew and chat while the children play. This season, a buffet has been-opened there, and early morning dejeuner may be enjoyted under the trees, as well as afternoon tea at a later hour. Nothing is .quite so perfect as a "petit dejeuner" at Bagatelle in the early hours of the morning. If you are very "matiuale," you

HOLIDAY MAKING.—Mise Eileen Bennett, the British tennie star, and her nance,. Mr. Fearnley Whittingstall, snapped after a dtp at Deauville.

get up at sunrise, motor down when the dew is still on the grass, and about seven o'clock or thereabouts, you take your morning cafe-au-lajt and hot croissants and enjoy the beauty and the fresh green of this English garden in the, corner of tho Bois, near the building that once housed Sir Richard Wallace's horses. "Artis Est Celare Artem." We now know all the <*ress designers have to tell us about the«new modes. And, thanks-to them. for it, they have, been extraordinarily, prolific,, especially in the use to be- made of the many original materials,,colours and combinations of. colour, andHhe decorative value of. embroideries and fringes, ostrich feathers .and flowers. They liaye also exemplified to a marked extent how impressive simplicity can be, wrought under the most expensive auspices. Looking back, one fails to recall a period when'dress was simpler on the surface, and. in line and more amazingly wonderful in. construction.' The old Latin adage, "Artis est celare artem," might be accepted as .an appropriate motto, since it is truly genius to, give art the appearance of quiet, natural, artistic line. But ■it is a matter of fact that dress ■has never been more difficult to dissect and describe. It.is so largely a matter of fine workmanship which must be seen to be appreciated. It is satisfactory to,note, however, that we have entered on; a phase that has never before been attacked, I and one t na * going to make history. Cast to the limbo of ■ unthinkable ttiings is discomfort. In no single direction is the figure . distorted or braced in. Everywhere there is freedom that makes for grace and easy; movement.;

Too Late.

During the last few seasons woman's one demand has been that , youthfulness should characterise her clothes, with the result that dignity has .suffered considerably in. the process. No one has regretted the fact more -than the creators of fashion in Paris, for the sight of'too short frocks, worn by obviously unsuitable people, has outraged all their «xtist : c feelings. It is amusing now to

remember howthree or four years ago, when skirts were short, but-by no means too short, the dressmakers suddenly allowed them to fall to the ankles. Perhaps they had an intuition as to what would happen if women were permitted to retain abbreviated skirts. But it was too late, for women having had a taste of liberty, utterly and finally refused to look at ankle-length skirts.

And what was anticipated has happened. Skirts this season have become terrifically short. And real alarm is being shown. For afternoon dresses and tailor-mades, we sometimes see them two finger widths a,bove the knees! Whereas in evening dresses one sees a drastic difference. There is a great deal of uiievenness of skirt expressed according to the ideas of each individual dressmaker, with the result that, while some skirts are very, short in. front and very long at the. back, others (those of the period order) are very often anklelength all round. Others show a' froth of flounces, panels and draperies below the hemline. It will be extremely interesting to see how this question will be decided in the autumn collections.

Some Fashion Hints. Tho traditional white satin wedding dress has replaced the gold and silver cloths, the metal brocades and the white velvets. Veils are "worn over tho face again, when entering the church. The train, lined with colour- is seen no more. There are two exceptions that prove the rule. .One is the ultra-modern, short, full, two-tiered tulle wedding dress without train at all, designed for the very youthful bride. The other, is the shell pink wedding gown, which has been launched this season with more or less success. The shell pink shade for a wedding dress is perhaps more suitable for the bride who has passed her twenties. Our Sketch. The illustration shows a sports ensemble, a coat of pale yellow kasha topping a skirt of dark blue crepe de chine. A scarf of yellow and dark blue crepe do chin© is a smart accessory. ;