Styles Gain In Variety

Sun (Auckland), Volume II, Issue 561, 14 January 1929, Page 5

Styles Gain In Variety

Costumes in Different Patterns Win Approval of Fashion World

Innovations Set New Modes

Although Lucien Lelong in one of his style preachments says that “the mode is dominated by restraint and balance and that “modern society lrowns upon eccentricity,” a great number of costumes now gaining vogue are altogether different from any former conception of fashion. Today , as he himself says, “it is possible to design two dresses totally different in their artistic conception and yet have them both at the pinnacle of fashion.” All of which makes for many striking models in this season of great variety. One of the dominant features of design in the autumn and early winter collections is the use of a slanting line in the arrangement of drapery and the finish of the neck and the skirt hemline. It extends from the top to the bottom of a gown and the same idea, as well, is made use of in the design of even the smallest accessories. The present ensemble vogue naturally prompts every woman to assemble her wardrobe with some conception of a general harmony in the fabric, colours and designs. The gay touch of the season is the revival of spangles. They are used in even greater quantities and in more ways than in past seasons, when solidly spangled robes, weighted with trimming, were at the peak of fashion. They have helped to emphasise the vogue of black, especially in dress for afternoon and evening. Every sort of black fabric—velvet, moire, satin, crepe, tulle —is used in the latest models, and spangles add brilliance to them. The highly burnished spangles, paillettes or sequins are alternated with those of dull surfaces, just as the contrasting sides of a fabric are handled nowadays in. designing a gown. Some of the spangles are in black and others are steel, gilt, dull silver, blue and other colours, plain or irridescent. One of the most successful ensembles of years is the gown of black chiffon, net, tulle or other fabric trimmed with jet, gold or silver spangles, with a jacket of the net liprdered in the same manner; with one of the new evening jackets covered solidly with sequins, resemuling a coat of mail.

Models without number have appeared in response to the demand for this combination. One of the most attractive is a dinner gown of black net embroidered all over with an eyelet pattern in gilt. With this model, which is decollete, is shown an evening jacket made with the sleeves embroidered down to the wrist with gold sequins, giving the wearer much the appearance of a legendary mermaid in the sunshine. Net and tulle gowns with flounces and drapery bordered with spangles are youthful aud elegant, and an ensemble of this sort with a little coat and evening toque covered with spangles presents an ensemble that will answer for many different occasions. Attractive accessories—bags, shoes, fans—accompany these gowns, completing ensembles of much beauty and chic. Many novelties are introduced by some of the French designers in their latest creations, particularly for evening dress. The most conspicuous of these mark a notable departure from the traditional; others revive the successes of years ago.. In one of her most recent versions uf the robe de style Jeanne Lanvin gathers snowy white tulle to form three cascading tiers, all toward one side, to fall in triple points, the lowest just, clearing the floor. A long, slender bodice swathed with the tulle has a flounce that finishes the decollete neck with the same oblique line. This is fastened to one shoulder with a spray of crystal roses and is drawn under the arm oil the opposite side, leaving the other shoulder uncovered. A corresponding garniture of roses is placed in parallel on the lower edge of the bodice. All the details of a costume are brought into harmony in this creation. The white satin, low-cut pumps have each a crystal rose in place of a buckle, and a unique fan is made of starched maline laid on silvered sticks, forming a snowy mass that looks like white coq feathers. A wrap of non-crushable white velvet has a deep cape collar of ermine made to cover the shoulders and upper arms. Another delicate creation of the season, similar in design, is the work of Lelong. This is an evening gown

of pale primrose crepe satin, in ■which tong pointed drapery sweeps toward cne front, the skirt being an even length all around. A note of clear green is introduced in a necklace and some bracelets of tinted pearls with olivine clasps. A narrow belt has a green jewelled ornament as fastener, rvorn over one hip, and ankle straps of pearls are fastened at one side with a green studded button. A long cape dolman of olive-green velvet is lined with the same primrose satin and has a deep shawl collar and cuffs of beige fox. In an evening ensemble in poppyred transparent velvet, the gown is made with a dipping line at the back and with three circular ruffles rippling upward toward the front. This variation is abi-upt, the hem touching the slipper heels in back and reaching just below the knees in front. The bodice is an “easy” fit, with a plain slim silhouette. It has a high decolletage in front and a deep V at the back, and is finished with a yoke of net dyed in the same shade of red, which is rounded across the front and opens low at the back, where a circular oval of velvet is set at the lower edge. The net yoke is sprinkled with tiny rhinestones sewn In a net pattern and the ruffle of velvet has the effect of a cape. The young woman for whom this gown is designed will wear with It evening slippers of velvet which are outlined about the top, on the ankle strap and in a single sparkling line down the vamp with small rhinestones. The stockings to go with them are of fine mesh net in a delicate complexion shade. Now that fans are coming in along with laces and trained skirts this costume is to have a fan of velvet, of rather generous size, laid plain over sticks of tortoise shell and inlaid at the outside with brilliants. A bandeau that may or may not be worn is formed of delicate red velvet leaves dotted with rhinestones like dew drops. The wrap, of the same poppy velvet, is a dolman cape lined with crepe satin of a shade lighter. An ensemble that revives an old fashion in colour combination is one of Premet’s latest creations for evening. It is made of a highly lustrous quality of raven black rayon satin, Is cut with a deep V almost to the belt in the back, while moderately rounded in front, and has a unique oblique arrangement of drapery on the skirt. A cluster of pleats laid on one side Is cut with a slanting line toward the back. Another cluster placed at the hip on the opposite side is short, giving a bouffant effect. All of this drapery is lined with light turquoise satin in which is woven a thread of silver, as, for example, the wrap of black rayon velvet made with a shirred cushion collar. This is one of a number of evening ensembles in rayon in which metallic thread is so finely interwoven as to

give the appearance of a silken thread. Another shows an enchanting blending of tints In peach satin brocaded with silver, which catches the light and shades into several tones. The accompanying slippers of the brocade are finished with a fine pattern around the top and on the instep strap, and veil mesh stockings of faint flesh colour are worn. The wrap, of chiffon velvet, Is designed to reflect the bloom of a peach in lighter shades.