THE CHINA MAIL, SATURDAY, MARCH 11, 1961,
WEEK-END WOMANSENSE
SPECIAL PRESENTATION BY JILL BUTTERFIELD AND FASHION ARTIST Robb ANOTHER FIRST IN THE PAPER THAT MAKES FASHION MAKE SENSE
Paris- at everybody's price...
Fashion
Page
BANG ON
THE EASY-
TO-WEAR
WAVELENGTH
FOR the first time ever, in the very first week they can be shown to the world, I give you the pick of the Paris collections. And this season Paris couture has had its hendiest suc-
cess in years,
The simple reason is that the designers have at last adopted a please-the-people policy. They have bang- crashed right in on the easy-to-wear wavelength.
NO GIMMICKS
INSTEAD of producing fashion-plate clothes that look pretty only in pictures, the couturiers are designing fashion at its best on the move.
INSTEAD of relying on glitter and gimmicks to grab the
headlines, they make women look gorgeous again, INSTEAD of creating merely for girls whose cash and curves are in the right place, they have our more mundane problems in mind too.
What does all this mean to you? Simply that if you have an ounce of fashion sense, a peppering of practicality, the main fashion moves you make this spring are bound to be influenced by the clothes you see here to- day.
LOOK first of all for SWING, Dior showed skirts that swung in a slightly stiffened flare; Ricci, skirts that jived in a flutter of flat box-pleats; Cardin, skirts that eased their way over the hips.
LOOK Secondly for COLOUR, The couturiers see this spring through rose-coloured spectacles using every possible shade of pink. Look for bright French navy blue. Look for mimosa yellow.
LOOK for SIMPLICITY. The prettiest dresses are sleeveless, with simple collarless necklines. The smartest suits are neat as school uniform.
LOOK hard, very hard, for ACCESSORIES
the new squared-toe shoe, the new satchel handbag, the new gold chains and glitter pins. Even the best dress, like the best cooking, needs an individual finishing
touch.
PARIS COAT LINE:
Dior's version has rounded shoul- ders, a casual shirt neck and his typical horizontal channel seaming above and below the waist. copied by Wallis.
Coat
PARIS SUIT LINE:
Cardin's version has a simple neck, line cropped at the collarbone and his individual side fastening jacket. Tho skirt, narrower than most of Paris, is still easy. Copied by Windsmoor.
PARIS DRESS LINE:
Dior's vorsion was wittily called "Blue Jeans" although it's any thing but everyday. He made it in pure silk, imitated the saddle stitching with glittering buglo beada. Copied by San-Clair.
PARIS DRESS LINE:
Nina Ricci's" vartion is elooveless with a simple neckling, an unfitted bodico, and a skirt that's caught into soft folds at the side. Copied by San-Clair in pure silk.
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PARIS COAT LINE: Balmain's vonion has easy dropped shoulders, wido low-set sicovas and
upstanding Mandarin
חם
collar. Note his. döll-sized pill- box worn over one oye. Coat copled by Peter Robinson,
PARIS SUIT LINE: Dior's vorsion shows his gently floring skirt at its easy-to-wear best. The jacket is curvy, with high, little pockets and nout lapels, Coplad in yellow, beige, or groy laco-twood by Peter Robinion.
PARIS DRESS LINE: Michel Gomo's formal version fi a slinky shouth with a gently drop- pad "wolst, o draped sido-tying bodico and a slightly floring hom- ling. Copied by Susan Small in pink Tricel.
PARIS SUIT LINE: Chanel's version is in bright navy blue with a gored skirt saddle stitched in whito; it's sporked with brass buttons, brightened with white cuffa. Copied by Wollis.
PARIS DRESS LINE:
Dior's version for the very young. The bodice is bloused with soft horizontal tucks, the skirt is ona of the widest in Paris. Pally Peck's : Interpretation,
-(London Exprera Service).