Fashion News from France

Sun (Auckland), Volume III, Issue 919, 12 March 1930, Page 5

Fashion News from France

popular Materials are and Satin LOVELY HAT ORNAMENTS Although there is much that is new in the world of fashion, it is all so subtle that it is a little difficult to find out exactly where the old ceases and the new begins. Take the jumper and skirt—that sounds old enough, does it not? But see some of the new jumpers and skirts, and judge for yourself! The tuck-in blouse has such a defi-

nite place among a woman’s morning Clothes that the jumper is now reserved for afternoon and smart luncheon occasions, turned into a tunic.

These tunic jumpers are made of heavy satin, either oyster-white or of a colour to match the suit. For, as a rule, the jumper forms the third piece of a very smart walking suit. If the coat is hip length, the tunic is an inch or so shorter; if the coat is longer, and made with a frilled basque that is naturally longer at the back than the front, the tunic becomes really Russian in character, except that it also follows the sloping line. THE NUT-BROWN BEAUTY A lovely suit of nut-brown cloth has a skirt flared a little at the hem. The coat, long and slim to the hips, has a pretty fluted frill as finish. The long tunic is of nut-brown satin, with a square neck, a side fastening from neck to hip closely sewn with small gold buttons, and a broad belt of soft golden brown lamb skin fastening with a square gold link buckle. A beret of the same material as the suit, with a large floppy bow of brown satin falling over one ear, completes the ensemble. OTHER TUNIC MATERIALS But all the tunips are not of satin. Some of them are of lovely real lace over chiffpu of parchment or pale rose colour; others are of the fashionable jersey net, used double; others again are made of moire shot with gold; and still many others are of the new broche lame that is as soft as velvet and as easily draped as chiffon. A pretty treatment of the tunic line is one which exploits four narrow panels of gauging—one down the centre front, one under each arm, and one in the centre of the back. Thus between each is a pretty panel of softly rucked material. With a tunic of lame and a beautifully fitted hat of the same material as the suit, one can be very chic. But a warning—do not imagine that it would be nicer to have the hat made of the tunic material. That, strangely enough, is not done. HAT JEWELS AGAIN A little while ago, I said that hats were untrimmed, but the brooch fashion has swung back and the brilliant ornament is favoured again. If your brooch is square or oblong, it should have a little picture worked on it in coloured stones —a cottagp, a flower garden, or a Chinese pagoda. Otherwise, the ornament must represent a lovely ship in full sail, a dog, a horse, a motor-car, an airplane, or even a railway engine. Should your hat be one of the newest pierrot caps of satin, with a loop of the material drawn over one ear or into the nape of the neck, that loop should be pulled through a square buckle of diamonds or crystal. All the nice ones are treated this way.

NEW IDEAS IN DECORATION ARCHITECTURAL PAINTINGS ON THE WALLS The idea of painting a wail area, or a smalt portion of it, to represent some architectural feature, is now being adopted by many of the modern decorators. As an example, a certain window, set half-way up a tali staircase, proved very uninteresting and commonplace in its original state. But

on either side the decorator has fixed French shutters, painted in jade green, which are most effective against the creamy wall. Then, to simulate a window as viewed from the outside of the house, instead of from the inside as is actually the case, he has. painted in a little “brickwork” all round, finishing off the top with a stucco arabesque, and the base with a stucco ornament —both merely painted, of course. Another amusing notion is to hang on a wall an ordinary mirror with a frame of black japanned wood, and to paint all' round it a second very elaborate border. This may simulate an elaborately carved and gilt Venetian frame, or one of Dutch origin with the characteristic chainpatterned mouldings. In either case, the actual black ebonised frame will act as a foil to the rest. , The over-lofty hail looks -much more friendly if its area is broken up by means of simulated pilasters, worked out in a marbleised effect at intervals. Green Cipollino marble and malachite accord well with this idea, and neither is too difficult for the amateur artist to attempt.