HARMONY IN DRESS

Sun (Auckland), Volume 1, Issue 21, 16 April 1927, Page 5

HARMONY IN DRESS

BY POPPY BACON Ensembles were originally invented to secure an impression of unity in dress, and they have succeeded in influencing all clothes in a movement toward simplicity. The line, the colour, and the decoration of the garments worn together must co-operate, to give a perfect impression. Since the three-piece suit, with its sober skirt and jacket and its matching bodice and lining were the fashionable craze, the idea has been developed, and in planning an ensemble dressmakers have more scope than formerly. They are still careful, however, to connect the vivid colouring of one garment with the sobriety of the other, keeping them united with a lining related to both of them. Hidden Splendour. In these days of contrasted colours and material combinations linings are often something to gasp over, and are the most remarkable part of the design. An instance of this hidden glory was shown in an ensemble of tabac velvet and orange cloth. The tabac velvet frock was cut on simple pouched-back lines, while the matching coat was long and straight. The lining was an extra-ordinax-y mingling of the two materials, starting at the hemline with alternating bands of the orange cloth and brown velvet. At the waist this ceased, and the coat was entirely lined with cloth ornamented with velvet spots. I have seen a purple cloth coat, and a crocus mauve chiffon dress finished with an enormous sash of purple velvet worn by a chic woman. The lining of the coat was composed of mauve chiffon to match the dress, ornamented with patches of velvet. A narrow band of dyed moleskin, to match the purple of the coat, separated the chiffon from the cloth on the inside of the garment. Many models, which would appear to have no substance to hold off the chilly winds, are made wearable on the coldest days by interlinings of wool. Daring Schemes Sometimes it would seem that a smart dressmaker throws discretion to the winds, and the most extreme garments are the result. I have seen one model in particular which made me search quickly for the necessary unity. It was a bright red coat trimmed with black fur carried down one side and

arranged in bands round the liem. The collar and cuffs were made with the same bands. Black satin was utilised for the lining and black chiffon for the frock, which very cleverly fell into the scheme of things by being trimmed with a moderately wide belt of matching red cloth. This harmony in dress is not restricted to day wear, for as much pronounced unity is to be found in evening toilettes. Chic women fully realise that ensembles are an economical ibit. So both cloak and frock must be fashioned of the same material, often of iie gorgeous lames or brocades. To carry the idea still further, the lining lias to be made in cloth of gold or silver, so that when a woman removes her cloak she appears framed in liquid metal. Popular Embroidery. Trimmings are also harmonised. If embroidery is chosen it is in the same tone on coat and frock, and the pattern is naturally reproduced. I saw a gown of dead-rose velvet, made on very simple lines, but with a skirt completely covered with tremendous shaded anemones. The coat to match, which was cut on the same straight lines as the frock, was covered with matching embroidery. Bead tracery is shown on the frock and in a similar manner on the coat. A gown of white panne, made by a well-known dressmaker, had a skirt covered in short crystal fringes, while the cape-coat is adorned from r er-k to hem with the same design. With fur and feathers the tone must be matched exactly and infinite pains are taken to dye them the exact shade of the garments they adorn.