LA MODE IN PARIS.

Putaruru Press, Volume VII, Issue 271, 17 January 1929, Page 2

LA MODE IN PARIS.

A QUESTION OF WAISTS. In one at least of the Paris salons the waistline has settled down, as it were, in its normal position. In this salon you see the sports-suit with jumper narrowly belted well above the hips; you see the home gown with a circular skirt a. trim bodice and the waistline indicated by a shaped belt of self material. Whether this beit be deep, medium, or narrow, the lower edge just rests above the nips; it never goes over them. The same designer makes dance frocks of biack net, spangled with sc- : quins, jewelled with rhinestones, spotted witn chenille, or quite plain. Charming alternatives are frocks in white *1 pastel-tinted net. There is, in fact, an ( infinite variety of youthful-looking litcie net dresses, not to mention those in chiffon—plain, not patterned, for the printed variety is almost finished! The chiffon frock may htve a transparent net hem, probably in a contrasting colour, a garnered net 1 ‘ bracelet’’ with a flower on top and most cunningly contrived net blossoms trailing -own the bacK from one shoulder, or down one side from the waist. All these engaging models show the waistline at normal, and the full, billowing skirt. On the other hand, an equally iinr portant designei finds no cause to change the silhouette providing it suits

his client. He advises the norm?' waisoline for For middle-age - o likes the graceful princess robe, or t’ o gown which has no elearlv defined waist position, but an arrangement of soft folds converging to one hip where a jewel holds them in place. This Tine is very kind to the no longer slim figure. Again, if you are moderately young, and lean toward Empire styles, there is no reason why the waistline of your evening dress should not be raised quite high; in this case the skirt must be long and full—no abbreviations art* permitted with Empire silhouettes. I like the 1880 gesture of another designer who uses full-shaped flounces ou the skirts of his dresses, and makes the waitline rise slightly at the back and dip in front. The frills follow thi* rise and dip, a soft bow at the centre back serving to suggest the ghost cl* the 1880 bustle.

Nearly all dresses for sports, and clay wear generally, are cut higher in tuo > neck. If they are finished with rever collars, the revers are small, only opening sufficiently to reveal the V at Lha base of the throat. A small oval neckline, a round one, the diagonal and the small square are all permitted on the simpler dresses. - Evening decolletage is as you like it! Broadly speaking you may chooso an> look quite “right” in the type you like best, be it V-shape, which is the most modish at the moment, the square, round, oval or diagonal. The ultra-deep V back docs not seem to have caught on very well, women of taste and dis comment preferring something rathpr less revealing. The tunic blouse is included in one or two new collections. Belted in trimly at the waist, the tunic flares below, half way to the knees. It it worn with a flat-pleated skirt that looks very straight and slim —almost “hobble, ” in fact—in contrast with the flare above it. A black chiffon evening frock is a lovely thing; even more lovely when it is unadorned save for a cluster of perfumed white velvet violets placed in the centre front of the waistline, invisible shoulder straps, made of strips of flesh-colour chiffon no more than a quarter of an inch wide, are used on this model in order that no encroaching black line shall mar the whiteness of a shoulder that looks whiter still in so perfect a setting. Narrow braid is used a good deal on tailored suits; an alternative is a braid-like effect contrived by numerous close rows of machine stitching. This stitching is used also 'on crepe, taffetas, moire and satin day dresses.