Fashion's Book of Hours

Sun (Auckland), Volume II, Issue 583, 8 February 1929, Page 5

Fashion's Book of Hours

Wliat to Wear and When —Jewels With Black

j There is no Yea and Nay in fashion’s ! philosophy this season. She hedges, i she tries to be all things to all women I and is surreptitiously as much of a

tyrant as ever. But fashion is a woman of the world, old in experience though ageless, so she has compromised and has made for her followers a book of hours thus compiled.

For the morning; The slim jumper, ensemble with long or short coat "in tweeds and jerseys; everything as simple and practical as possible. For the afternoon: Dresses of satin, figured velvet or panne, light woollens, crepe maroeain and its fellows, all with swinging skirts, slim bodices, long sleeves and interesting neck lines. Over them she puts a coat, long, with a little flare about the knees in front, or behind, or quite straight, with side stitchings, pockets, pleats, a fur collar of some importance, any drajieable shape you like, and deep fur cuffs. Simplicity is the rule for morning j and afternoon clothes, unless a cere- j monious party is to be attended; then] velvet and fur and satin and fur are put ou with a generous hand. Flowers are used to give bright spots of colour to a dark coat, and since black is to be more worn than ever in the autumn, a red flower fastened to a black astrakhan collar. Jewels will be worn effectively with black: buckles, clasps, bracelets, necklaces in paste and in clear coloured stones. For the evening all is changed. Simplicity is sent to the winds and feminine luxury is expressed in beau tiful materials, glowing colours, long flow ing skirts and inadequate bodices. The bodices of the new evening dresses are, indeed, little more than two slim, slit pieces, one fairly high over the chest, the other deeply cut to a point behipd, sewn together low under the arms, and, of course, no sleeves. What Costumiers Are Doing Bodices of these slim proportions are joined to skirts of generous volume round the knees and ankles. Hips are still slim, yokes swathed closely or firmly pleated, but below

tlieai a turbulence of tulle and velvet, lace and satin. There are trains, flounces, wide sashes and a dozen different kinds of draperies, all arranged to dip and float. Jean Patou drapes the back of his skirts to disguise contours that are too rounded. Lucien Lelong hangs miniature walteau trains from between the shoulders in the shape of bows and ends. Worth has made many dresses with one jewelled shoulder strap. Molyneux uses satin that stands alone, and rich velvets.