London Fashion Notes

Evening Post, Volume CXV, Issue 71, 25 March 1933, Page 21

London Fashion Notes

.Specially Written for "The Post."

LONDON, January 27.

Having once decided that it is not necessary to seek inspiration in Paris, English, dress designers are showing they have the courage of their convictions by producing collections of their own models before the Paris "openings.". As anyone who has followed fashion, knows, this is a most revolutionary feature, and. marks the emancipation of London fashions from, the slavish dictation of Paris dress designers.

Young Victor Stiebel's models were optimistically spring-like, and it was hard luck to launch such a dainty collection just as we had started the great "freeze." But at least it. inspired the feeling that beyond the Arctic conditions stretched a vista of soft, sunny days when we should revel in the greys and beiges and blues which formed the base of so many ensembles. Ink-blue velveteen was used for a long coat, which was lined with ice-blue crepe and worn over a dress of the same ice-blue- crepo that had a draped bodice tied at the waist at the back. The small careless collar on the coat turned up, and, the way the fox was arranged on the upper aim of the coat was new and very smart. Ink-blue- velveteen was used again for a smart small suit, the jacket of which was .tight-fitting, with a slight flare at the waist and a black fox collar.

A very original dress was made of pinkish beige wool, the three-quarter length sleeves had large turn-back cuffs lined with white organdie, and bands of white organdie at the neck, and a two-inch waistbelt of white suede. Specially springlike was a dress striped with three shades of blue, with an enormous organdie rosette on- the front of the bodice and a white suede belt. Over this was worn a long white coat that reached the hem of the dress with deep cape-collar of the blue striped material showing a three-inch band of white- at the edge. A white velveteen hat, narrow at the sides and worn well forward, completed .this very chic ensemble.

Now in this typically 1933 collection several points wero emphasised. Neariy_ all the afternoon ' dresses showed trimmings of -whit©.'organdie—neckbands, cuffs, bows, or large bunchy rosettes or Toses. \

With these was an equally noticeable feature—a white suede waistbelfc about two inches wideband smartly cut gauntlet gloves in white suede. One beautifully tailored : dress of fine black woollen material had two large organdie roses on the „ front of the bodice, & white suede belt and gauntlet gloves, and a small white velvet hat to go with'it. Incidentally, this is an idea for smartening up a simplo dark dress if yon are slim enough to dare a broad white line round the waist. Dark blue with white will be a fashionable evening colour combination. A charming model in white crepe had one side^ draped high over the shoulder, leaving the other arm bare. The edge of this drapery and , under the opposite arm was a fold of royal blue velvet, which also formed a long wide sash^end that reached the hem of the dress: ■ ■---.■.■•-,... .„.,_.,•. ~ •

Another white crepe dress had a garland of large dark blue silk, and velvet roses trailing from far back oh the right shoulder^ right across the bodice, and finishing at the waist on the left side.

Another unusual evening dress was made of the very finest silk jersey in brown and white check, so fine, indeed, that it feels-like heavy crepe. It was long, slim, and moulded the figure with the top of the bodice cut in wide strips which are crossed over each back and front, to form shoulder straps. "With this was a quaint jacket that seemed to have strayed from, the eighties. Made of nigger-brown quilted silk, with three-quarter leg-o'-mutton sleeves quito wide and standing out from the shoulders, but tight at the elbow and a few inches 'below.

These small checks, which remind one of summer dresses, will be popular for evening dresses during the spring season. In fact, quaint' and original naterials are often the distinguishing

—RUTH SIBLEY.

feature of a perfectly plain-cut evening gown, the beauty of the material needing no adornment.

One of these new fabrics is .a crepe not only crinkled but ruehed in a honeycomb pattern. The French- call this crepe "tripe," and it certainly looks like it in a rich, creamy colour.

But this material, beautiful though it is, can only be successful on slim women, and when made into scarves it is inclined to be bulky also. Some of the new satin blouses are worn outside the skirt iv front, and tucked into the waistband at the back.

Others that tuck into'the waist have that line hidden by a deep tuck that looks like the hem of a short jumper. An attractive idea for a dark dress

was shown in a dress of fine wool erepo with the top of the bodice and sleeves slashed, into inch-wide bands, showing a pale flesh pink slip beneath. These bauds all tapered close up to the base of. the throat, and fastened at the back with a small bow.

All the little white.lingerie touches, or' those of whito ermine plush, etc., are clipped on to the dress, eliminating the use of a needle as' much as possible. And a double set is. usually supplied with each dress, for. "white touches" should always be white and under winter coats they soon acquire a depressing grey colour if not constantly renewed. ,

There was a deep violet shade which was shown tentatively in the autumn, and which I have seen worn by several smart women with fur coats. Now it is being used fox* evening wear. A new corded silk and wool material was used for a long, plain evening gown. The bodice .slightly draped in the front with a large bunch of pink roses at the waist—a heavenly colour combination, don't you think?