Vogue In London and Europe

Hawke's Bay Herald-Tribune, Issue 199, 8 September 1937, Page 14

Vogue In London and Europe

The Blue And White Frock

(From Our London Correspondent.) TT is not diiEcult to find the most popular frock of the season. It is made of ivory crepe, patterned all over with dark blue, and the style is varied in a score of ^ys to suit different occasions. It has been worn", of course, for several seasons, but just now it seems to be a craze, for it is seen everywhere and is just as becoming to the older woman as to the girl of 18. The printed designs vary a little, perhaps, from those of last year, the patterns being more intricate, and whirls and scrolls covering nearly all the ivory surface. But, for the most part, a last year's frock does not "date" except in the matter of sleeves. New long sleeves show a definite leg-o-mutton trend. The change can be got over in many cases when last year's skirt is shortened to this year's length by using the pieces to give extra fullness to the tops of the not-so-new narrow sleeves.

The latest blue and ivory silk material has a crepe-like eSect, and looks as if it had been finely kilted all over. It makes up most attractively, and an assurance is given by the manufacturers that the kilted appearance remains when the dress is washed or cleaned. Stitched belts are growing wider and wider. They give a smart finish, and are preferred to the narrow sashes which tie at the back and are not always sotidy in effect as they might be. Ruby and White. There are other colours beside navy blue among the patterned materials. One manufacturer shows an attractive design of conventional ovals and scrolls, superimposed upon a tree-bark eifect in shadow printing, using a design in ruby, dark green, black and brown, as well as dark blue, on ivory. The ruby is probably the most picturesque of the whole range, giving a brightness of colour

which the others lack. A model in thi? material was finished at the' waist with a two-inch wide ruby belt. Suede shoes in the same tone were worn with it, and the complementary hat was deep ivory in colour with a ruby velvet ribbon drawn round the crown and tied in a loose bow at one side. With the ruby and white frock went one of the smartest of the new unlined finger-tip length coats, made of ruby faille, with a pretty little collar, rather wide revers, and one ruby and ivory button to fasten it. The jackets are also made in navy blue, brown and black, and look smarter, or perhaps, newer, with the printed frocks than do the long, straight coats of woollen crepe usually associated with this type of ensemble. Draperies With a Difference. While simple day dresses follow a smart and attractive straight line, there has never been so much draping on evening gowns. The close-fitting little bodice is hardly seen at all, and every new dance dress boasts fullness and folds. Models shown in a mid-season collection recently looked as though a length of material had been swathed round the top of the figure and then cafight up into loose, casually arranged folds and tied in a huge knot in front. There were no evidences of even the smallest and lightest of stitches, and neither buckles nor brooches were used— they would have spoiled the lovely line. In another collection was shown a frock with a corsage which was all folds. They began at the waist and, carried across, finished at the base of the throat, where the top one was pulled down slightly in the centre to give the effect of a V. There was no back to the model, but a draped bolero accompanied it, the folds in this instance failing from shoulder to waist in contrast to those going across the gown itself. There was also a charming, girlish frock of heavy ivory crepe with a bodice that suggested the old-fashioned fichu. Very wide, the folds were carried out beyond the shoulders, and the whole of the fullness in front was tied on a double knot at the natural waistline. In keeping with this, the skirt was made with a centre panel of lace over gold tissue — the palest gold imaginable — and at each side the draperies of the skirt proper were arranged to fall cascade fashion from the waist to hem. The effect was charming. Still another draped model had the material arranged in a single cross-over cffect, from the right shoulder over to the left of the waistline, carried across the back to join another series of folds, and tied in the fashionable knot on tlie right of the waistline. The long, wide ends of the material— which was silk jersey, now beautifully spun and much worn at night— fluttered down as far as the knees, and the skirt also fashioned from a length of the jersey swathed and folded about the figure, was finished to thd§ ankles with fluffy, fiuted draperies.

Oumpled Lines, Whai is known as the "miinplcil" line is i'ound in all the neW al'ternouii tuni evening inodels. It is different fiorn anything we have had for many seasons in the way of artistic draping, and there is something very soft and becoming about it. The dance frock which finishes with a series of crumpled folds round the neck, instead of shoulder straps; the bUmsc with a little yoke that looks as though the materifd had been gently o-ushed in the liand before being sewn into p'nce; the side draperies of a full skirt that lie in a most attractive line

which might have been caused by the deliberate folding of the material in a crooked way — all these add to the attractiveness of the new styles. Useful Hold-Alls. Do you remember those old-fashioned hold-ails that were such accommodating items of luggate? There are some new versions in towelling for beach kit that

would be easy enough to make for yourself. You merely want a long strip oi some brightly coloured Turkish towelling and some pieces of oil-sillc with which to make pockets. At one end oi the strip you make. a letler-box openins and at the other end you sew a handle, which, slipped through the openmg when your hoH-all is rolled up holds it in place and provides. some tliing to carry it by.