OUR PARIS LETTER.

Putaruru Press, Volume VI, Issue 225, 23 February 1928, Page 2

OUR PARIS LETTER.

A PARISIENNE’S NOTEBOOK.

(By

Yvonne Rodier).

The newest * * relief ’ ’ motif for the all-black frock is silver. A lovely evening model, highly' typical of the current mode, is carried out iu black chiffou, with the last-word waist-line (almost normal) accentuated by lovely lines of diamante. With the frock is worn the ultra-fashionable “riviere de cristal, ” while brilliants outline the petals of a chiffon flower on tlie shoulder.

This “river of crystal,” incidentally, is the foremost jewellery note of the moment. It aptly describes the iong, graceful chain of clear-cut crystals with rim setting. In some cases these “rivers” end in a pendant. In others, the flashing cascade is just a linked chain of brilliants. Exact copies from old French paste, they are ideally adapted for wear with the tea gowns or frocks “de fantaisie” of the moment.

Apropos of tcagowns, these essentially feminine toilettes are taking on a new lease of life. And this despite the very considerable competition of the “harem” pyjamas vogue. It becomes more and more evident that femininity is assumin ga dual personalityin the matter of dress, and noth.ng could more aptly illustrate this duality than the teagown and the trousers. Madame indulges different moods in different modes. There is no end to the variety- of interpretation of the resuscitated teagown phase. One of the most attractive is an obvious descendant, so to speak, of the Japanese kimino. But infinitely Gallicised; and taking the form of a georgette coatee, long or snort, according to the wearer’s whim. The beauty of these “tea” coats :s that they can be worn over trousers or a slip, or an elaborate under-dress of silver or gold cloth, for the days when Madame is holding a teatime levee.

The “draped” period that has now set in so definitely has brought back buttons and buckles. These lust run the whole gamut of precious jewellerydown to plain silver, gold or gunmetul for smart “sports” wear. A favourable trimming device of some of the principal Paris houses is the row of matching fabric-covered buttons, with a single coloured stone let in. also en suite with the colour scheme. Some of the most attractive of the frocks are adorned with ornaments in. * ‘ precious” stones that similarly fulfil the on suite colour role. A consoling thing about this matching ‘jewellery’’ is that its objective is to achieve a chic accessory; there is no pretence of being valuable.

Spanish combs and ear-rings herald the revival of the Spanish mode, together with the Spanish shawl that has never really gone out of fashion since Paris and London became enamoured of its Southern charm. Many of the most -mcecssful dance-dresses show the “influence cspngnole,” and emphasise the feeling for feminine grace that con timics to inspire the leading dressmakers. The heightened craze for blaek, too, is largely responsible for the Spanish sartorial note. The ladies of Spain know all there is to know nbout the allure of the sable hue; and. exploding a curious popular tradition, it is the young senorita who knows most of all. Elderly women are much more kindly served' with some of -.be wine hues, if thev but realised it w Black if most effectively displayed by a hrtl liant young brunette with clear complexion. This is a secret Parisians have dub- learned.