A PARISIENNE’S NOTEBOOK.

Putaruru Press, Volume VII, Issue 274, 7 February 1929, Page 3

A PARISIENNE’S NOTEBOOK.

FASHIONABLE REFLECTIONS. (By Diana Dane.) Daytime frocks with even hemlines are now being produced by most of the best houses in London and Paris. When the skirt does dip at the back, the bodice dips also. That is to say, it terminates at the normal waist in front, where the fulness is drawn into a group of small horizontal tucks, while it is draped fairly low over the figure at the back, thus coming into line with the drooping skirt. Nearly all skirts are French bound with self material, or else they are scalloped at the edges. Ordinary hems are rarely seen n*.w, even on straight skirts. The bolero is very much to the fore again. Made of the same material as the smart little skirt with which it is worn, it is most effective when fashioned with a closed front, so that only a glimpse is permitted of the white dr pastel silk blouse that accompanies it ; . I liked the black and white after-

tnocm bolero-frock shown recently by a. well known designer who is particularly partial to Magpie themes. Both bolero and skirt were carried out in soft black satin, the skirt having a straight hemline and groups of pleats at the sides. The bolero fastened up to the base of the throat where the collar of the ivory satin blouse turned over it. Only about two inches of the blouse showed between the steel waistbelt and the bolero edge, and the whole effect was one of smart simplicity. A neckline novelty is exploited on one or two new home gowns. Cut close to the base of the throat in front, the line widens slightly over the shoulders and develops into a short V at the back. The band of material that outlines the v is tied in a loose bow at the point, the ends hanging to the waist. The little cape is in great favour. Sometimes it is cut in one with the yoke of a tailored frock; other times it floats out from the shoulder line into which it is joined. Pretty little ‘‘capelets” accompany dance frocks; they serve no purpose other than the decorative, but are so dainty that we forgive them for getting in the way when we dance. The medical collar has been revived by a thoughtful designer for the benefit of nis middle-aged clients. Expressed in fine lace, embroidered net, it makes a lovely frame for neck and face. The correct position for the evening posy is on the shoulder- Strap; it may be placed at the back front, but it must be fairly low dov/sl. Instead of the flower spray, some <J®&igncrs use butterfly bows of net or chiffon, often sprinkled with diarnejite, and always airily dainty. By the way, it is decreed that the smartest shoulder straps for a classic white evening gown are slender jet (Continued in Next Column} !

chains. And long black gloves, reaching well above the elbows, are necessary to complete this chic Magpie theme. Big gipsy ear-rings, in gold, silver, or platinum, are worn with the fashionable skull caps. Huge jewelled rings look fascinating with theatre caps, hut are suitable only for the girl of the dark, flashing gipsy type. , Fringes are still used on day and I evening models. They are very graceful, specially the wide ones, and I should not be surprised to find them with ns three or four months hence. A fringed frock, therefore, may prove , quite a good investment. i Sports jumpers are woven in zig-zag horizontal stripes of various colours, with lines of metal threads between the zig-zags. They are so attractive that many women wear them, with skirts in harmonising tones, as house frocks. Wool- lace is another good thing in jumper fabrics. A new hair-dressing vogue appeared at a recent dance. The gill had swept her dark, wavy hair over her head from the right side to the left and arranged it. in a loose coil just behind the left earl Most girls twist their growing hair into a coil in tho nape of the neck, but this one-sided idea was quite new to me.