A PARISIENNE’S NOTEBOOK.

Putaruru Press, Volume VII, Issue 296, 11 July 1929, Page 2

A PARISIENNE’S NOTEBOOK.

THE TREND OF FASHION.

(By Yvonne Rodier)

It is no exaggeration to say that quite eighty per cent- of the smart gowns in modern collections are made of patterned fabrics. In the case of the floral chiffons for evening dresses, each individual blossom is frequently j outlined with gold tinsel thread, or ius- I tious beads. Inevitably, the woman who, despite the vagaries of the moment, chooses a virtually untrimmed frock of plain dull-surlaced fabric stands out with distinction amongst a confusion of riotous colour. Typical of the less flamboyant mode are the gowns cut on me diueval lines, their classic note emphasised no less by simplicity of material man grace of design; a simplicity that linus expression in the dull surfaced textiles aforesaid. Imagine a close-fit mg bodice, high at the back : nd cue square in trout; sleeves tight-fitting to tne elbows and the seams open from elbows to wrists so that tfie lower halves haijg in long square panels, imagine tins gown expressed in dull inuian red silk, and you have a good idea of the particular cachet attaching to the choice of the well-dressed woman. Beds —with black—are the leading colours for evening frocks, though tne new orange shade is fairly well represented. And, despite the übiquitous printed chiffons, lace holds its own very well. A real ‘‘dream of a frock,-' seen at a recent smart gathering, was of pink lace made with a deep ovalshaped shoulder-cape, while at the fiern was a flounce “cu forme," finished with lace of a slightly deeper shade. Among the indispensable day-time "three-pieces," beige of the "mastique * ’ shade prevails. The mode or i the moment ordains that jumper, bat, and suit shall be of slightly different tones that blend together in a- pleasant harmony. Scarves and millinery likewise ‘‘tone in" with the pretty ere pel la suits that are expressed in many charming colours, all shades of grey being first favourites, with an allurtng new parma-violet tint. “Basque" berets are worn by smart golfing ladies ol youthful years. Their older colleagues prefer more "trimmed" and fanciful berets embodying the vogu;sh tricolour theme;

as, for instance, a centre top in yellow cloth, then a band of brown, followed by a band of beige. These ‘ ‘ tricolour ’ 9 caps, needless to say, demand an ensemble carried out to the same colourplan. Tweeds and navy blue reps seem to have it mostly their own way among , the coat-frock models. A clever coat; line is given to a typical navy coatfrock by the modish addition of a shore I basque, cut “en forme," and made m- ( movable by the adroit dc ice of atl taching it to a narrow patent leather belt. A frock of this genre is cut perfectly plain, with a series of lines embroidered round the hips above a straight kilted skirt. The bodice fastens high round the neck under a chi® little white pique collar with an edging of organdi. A pointed tab lastens tli® top of the bodice under the collar, a|ojt a smart white pique bow appears underneath as it is drawn from a matching white vest, forming a single straight line to the waist. Among significant dross details, the jabot still figures picturesquely. It is seen in colours harmonising with individual eneembles, as well as in /the conventional white or ecru that provides the ‘‘lingerie" finish to so many sob-cr-hued daytime gowns.