Vogues and Vagaries

Sun (Auckland), Volume II, Issue 352, 12 May 1928, Page 19

Vogues and Vagaries

(By Madame Jeanne Varrez)

Colours that are infinitely more becoming than for some years past, and textiles that are soft and clinging, all nelp to enhance the femininity of the fashions that are now in process of creation. There will be delightful effects with draperies. Necks and sleeves will show the most delicate, handwork. And another phase , the new season's adornment will be lace and stitchery. , This does not mean, however, that the slim silhouette is at the end of its triumphant career. What it does Jhean is that the middle-aged woman has never been so adroitly catered for as now, when she sets anno domini at defiance and bids her couturiers support her in her bid for a new lease of >outh. These charming femininities, fcihd to middle-age and so becoming 0 real youth, are not to be regarded a s the demise of the sylph, but as that U-essential variety which must play 8 in Fashion’s scheme of things. Dignity and charm, thanks to the ew-style draperies, are now at the of womeu who cannot carry ff the severities of the Jeanne d ! Arc l n>e. They are equally at the disPOijition of all the little Jeannes d'Arc no crave a change from slim, straight contours. / leading dressmaker, oil either th * Channel, would tell you at the first intimations of changing ashion are visible in the alterations na variations of neck lines and f n eeves * Well, by all the signs, the. rmer ar e to epitomise simplicity and vth att6r elaboration. Nevertheless, in ese trends toward femininity the air, we never know' wliac surprises may be sprung upon us along J ines ’ surprises that may dic- . the contour of a wTiole toilette. , 13 „ eas y to understand why these eves and necklines are so import-

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ant; they set the key to the whole ensemble. In the meantime, a clever combination of the beautiful and the practical is the couturiere’s constant aim. Ensembles for afternoon wear are among the choicest of the couturiere’s exhibits. Materialised in taffeta, crepe de chine, foulard, georgette, crepe romain, or almost any kind of soft silk in pastel hues, the skirt of such a model has gathered or pleated panels falling irregularly, the waistline is marked by a narrow leather belt, and the corsage is trimmed with a lingerie jabot that falls almost to the waist; while cuffs are en suite, and usually voluminous, whatever their form A redingote as long as the frock itself is the correct complement of the afternoon dress theme. These coats have a godet effect behind, or at the sides, and in many instances are lined with the same material as that of which the dress is fashioned, or the trimmings. Evening vogues emphasise the popularity of lace in various hues, the perennial prestige of black tulle, and the charm of printed voile, as well as the de luxe appeal of lame silk material printed with flowers and still further adorned with embroideries. Capes, often pointed at the back, are designed in any number of silk crepe fabrics. Coats of lace are embellished with important-looking collars of fur or ostrich plumes. There is a never ending and increasing vogue for broideries of beads, paillettes, and straws. Richness, in fact, is the keynote of all the approved modes “pour la soiree.” Black, ever first in the Parisienne's affections, is now relieved with bright notes of pink and green, as w T ell as the übiquitous white. This is where the skilled designer displays his utmost craftsmanship. Black can be so maladroitly allied to colours! But the real artist makes a poem of the alliance. Navy, too, is subject to the same sort of treatment. Some of the most

exquisite ensembles in the new collections show how charmingly ‘ bleu marin” can be wedded to pale silver grey, pink, or green—which last two colours are supremely in evidence in all the most exclusive salons. Colour combinations, in fact, have never been so artistic. One sees the influence of the scenic artists of the stage at work among the arbiters of modern fashions. Couturieres have the courage of their up-to-date convictions, and the modes of the theatre, duly modified to suit our ordinary every-day world, have never wielded a more potent sway.

One of the fabric novelties of the season is a legacy of our grandmothers’ days—a “new” Ottoman silk that is first cousin to the heavy, corded silk which graced old-wqrld receptions. It hangs straight, with a regal stiffness. A great Parisian designer is using it in black, in alliance with a most wonderful tone of parchment white, and achieving ensembles that are the quintessence of dignity and chic. Typical is a plain, close coat in black Ottoman, with a slightly biased hem, and with lower sleeves in white of the same silk. A charmingly feminine character is imparted to many of the models composed in this silk —in both black and white —by the bodices of parchment-white georgette, trimmed with black, in conjunction with plain biased skirts.

Then there are short double-breasted coats of Ottoman —toujours in black or white—which have deep scalloped hemlines, and are worn over fuller skirts of lighter material. They have that slightly old-fashioned look which is one of the hallmarks of ultra-mod-ish artistry. Quite a number of these black coatees are decorated with coarse and supremely effective stitching of white wool. This same specialist in Ottoman designs has a penchant for very wide belts, with buckles specially designed for her. Thus, on many georgette corsages of white, very broad bands of Ottoman in white or in black are used, and decorated with the newest square buckles in bright nickel.

Another Paris house concentrates on black and white harmonies in another guise. A smart satin gown has a tiny three-quartered bolero, crossed on the breast with glittering “sparklies,” a brilliant brooch, or gleaming buttons; while the rest of the gown is formed of pointed flounces slightly shirred at the sides and mounting from the lower hem, tautening as they rise, to meet the miniature bolero. This last is of parchment white satin, while the flounces are of plain black satin; and each flounce is edged with the small rolled hem that in France is known as “boyaux.” A significant trimming detail—and not found, save in very exceptional instances, among the ready-mades.

Pace has nothing to fear from any fabric rivals. It is a medium favoured by some of the very best houses, who are showing a great number of all-lace evening gowns, most of them with skirts that are long at the back,

and illustrating the last-word decolletage, which in some cases is cut to the waist at the back, and has a fold or two of flesh-pink chiffon to help fill up the space. Too exaggerated, this mode, to escape the charge of vulgarity. The lovely laces at the couturiere’s disposal merit a finer treatment. Lace should be the sartorial synonym of elegance and grace.

There is a notable return to richer materials. Broderie anglaise ; s to be much used for trimmings. And there is a plethora of embroidered georgettes, Chinese embroideries, and needle-run laces. Much piquancy is achieved, too, by the adroit mixture of materials; as, for example, when a

jumper suit is composed of a jumper richly adorned with all-over Chinese embroidery allied to a wool stoekinei skirt.