Miss Kathryn Wells here wears one of the latest theatregoing fashions. It is in gold shimmercrepe made with wide fully gathered sleeves bordered with dyed fox. The deep neckline and corsage are outlined with rolls of self-covered cord. Left: Changeable taffetas in the lovely shade known as Buckingham lilac fashions a charming gown for the ingenue, which is worn by Miss Sheila Lyle. The off-the-shoulder line develops into an attractive sleeve arrangement while the full skirt flows from a fitted waistline. An inset panel at centre back lends added width. Left: Miss Lyle wears a Coronation blue and silver shimmer crepe gown, a feature of which is the fact that it can be worn in three different ways. The cape with its deep looped wing sleeves may be removed to reveal the sleekly fitting tailored gown beneath, and again the looped sleeves unfasten at the shoulder allowing them to fall into two long floating panels at back. The chief interest of this tunic gown centres on the back of the tunic. In Coronation blue lacquered satin, all the fullness is drawn to the back where at the waistline it is finished with huge French hand-made roses in brightly contrasting shades. Taffetas play an important part in 1937 evening fashions and strikes a particularly new note when trimmed with velvet as pictured above on the left. The gown is of black taffetas, its lovely bouffant skirt showing a striking design carried put with narrow bands of black velvet, while plaited velvet also forms the shoulder straps. A classically cut model gown in gold embossed satin shows a short peplum effect at the back edged with heavy gold cord, the cord being repeated in the girdle at waist Miss Wells shows to perfection a gleaming black lacquered satin two-piece. Above is the gown which shows a heart shaped panel falling into a rudder train and double shoulder straps. On the right is the new style "tails for women" matching coat.

Hawke's Bay Herald-Tribune, Issue 45, 9 March 1937, Page 11

Miss Kathryn Wells here wears one of the latest theatregoing fashions. It is in gold shimmercrepe made with wide fully gathered sleeves bordered with dyed fox. The deep neckline and corsage are outlined with rolls of self-covered cord.

Left: Changeable taffetas in the lovely shade known as Buckingham lilac fashions a charming gown for the ingenue, which is worn by Miss Sheila Lyle. The off-the-shoulder line develops into an attractive sleeve arrangement while the full skirt flows from a fitted waistline. An inset panel at centre back lends added width.

Left: Miss Lyle wears a Coronation blue and silver shimmer crepe gown, a feature of which is the fact that it can be worn in three different ways. The cape with its deep looped wing sleeves may be removed to reveal the sleekly fitting tailored gown beneath, and again the looped sleeves unfasten at the shoulder allowing them to fall into two long floating panels at back.

The chief interest of this tunic gown centres on the back of the tunic. In Coronation blue lacquered satin, all the fullness is drawn to the back where at the waistline it is finished with huge French hand-made roses in brightly contrasting shades.

Taffetas play an important part in 1937 evening fashions and strikes a particularly new note when trimmed with velvet as pictured above on the left. The gown is of black taffetas, its lovely bouffant skirt showing a striking design carried put with narrow bands of black velvet, while plaited velvet also forms the shoulder straps.

A classically cut model gown in gold embossed satin shows a short peplum effect at the back edged with heavy gold cord, the cord being repeated in the girdle at waist

Miss Wells shows to perfection a gleaming black lacquered satin two-piece. Above is the gown which shows a heart shaped panel falling into a rudder train and double shoulder straps. On the right is the new style "tails for women" matching coat.