PICTORIAL SUPPLEMENT
HONGKONG TELEGRAPH, MARCH 22nd, 1930."
PAGE THREE
Perfecting the New Styles
The women who have wondered when the fashion revolution would settle down and listen to reason may now stop their worrying, for spring clothes seem to indicate they know a little of what it's all about
1. equally
smart
for town or re- sort wear is this suit in heavy white embroid- ered failly
II. here, at the
right, is an almost-tai- lored treat-
ment for at
floral print-
ed chiffon.
III. and at the left. eight rows of flat ruffles on a frilly rose chif-
fon reminiscent
of yesteryear.
IV. a bit more formal is the suit of black flat crepe, trimmed in white sum- mer mine.. the blouse is tea rose
crepe,
A
SSURANCE is the keynote of the newest feminine raiment for spring and summer. And with that assurance comes the per- fection of detail, the elegance of line, and the definiteness of contour that has been lacking during the late winter.
It is now accepted that dresses for evening are long, not only long in the back and sides, but long all the way around. It is also accepted that the day frock need not be any longer than a few inches below the knee, if you desire.
The raised waistline is no longer proble matical, and it is now a sartorial obligation to give the figure the foundation it needs for a seemingly natural curve at the waistline. WHEREAS
one sees many interpretations
of the Empire mode, and it is very possible that waistlines once started on the way up may continue to rise above the natural line, there is nothing obligatory or arbitrary about this line, and certainly it is recommended by stylists only for the youthful and slim figure.
For evening the princess line is the classic one, and it is interesting to notice how decora- tions are now appearing at the back of frocks -large sash bows, floral arrangements, capes and boleres, all conspire to make the back view of the frock interesting and original,
IN materials, chiffons and laces are naturally featured, but one also sees taffeta used very interestingly, as well as the very thin printed metal lames and failles. Dull, plain crepes are very popular, but there are signs that their reign may be threatened before the summer is over and that prints will be exceedingly popular.
In these printed materials, both in chiffon
By FRANCES CLYNE
(Creator of the fashions on this page)
and crepe. flowers and leaves seem to be the inspiration of most of the designs, but there is a trend toward more stylized compositions and mode modernistic themes.
I have selected two day suits and some eve- ning gowns to show what I consider are excel- lently established types for the summer.
I. THIS silk suit, which follows the classic
type, is equally smart in town or for resort wear, and is as casual as it is in keeping with the modern feeling. The material is a heavy white embroidered failly, with a simple circular, wrap-around skirt and a finger-length jacket guiltless of revers or any complicated collar arrangement.
It is worn with a sleeveless blouse of yellow crepe de chine and has a full short scarf of yel low that ties about the throat almost like a jabot, Appropriate for this costume is the small-brimmed hat of yellow baku trimmed only with a band of two-toned yellow ribbon.
II, FLORAL printed chiffon in an orchid
ground with tracing of cerese, blue and green is used for this evening gown. The skirt is cut on the peacock line, with wide scallopt and a closely-fitted bipline, and the bodice fea- tures the bolero and the shoulder bow of the material. Undeniably feminine and fragile, it features good lines and an almost tailored treat- ment. The severity of style tends to empha- size the appeal of the clinging material,
III. THE frills and furbelaws of yester- year come back in this most glamorous shade of rose chiffon. The bodice is fitted and molded by means of knowing rows of shirring, and the skirt features eight rows of flat ruffles that dip down in the back until they all but touch the floor.
IV. HERE is a formal type of suit of black
flat crepe with novel collar and cuffs of summer ermine. The skirt shows unusual cut- ting and manipulation, as well as a novel belt arrangement, and it fasters at the side with a row of buttons. The blouse is of tea-rose crepe with a youthful neckline and two careless little bows at the neckline. Here again, the hat se- lected is of straw, with a medium-sized brim that is bound in black silk.
V WHEN you dance in this frock your can
give the impression of floating. so light and airy are the circular tiers, and ruffles that make up the skirt. It is made of capucine chif- fon over flat crepe. The bodice is simplicity itself, and the skirt is well-fitted at the hips, fo give the new silhouette. A large rose catches some of the fulness to the front of the skirt and cleverly accents the slenderness of the wearer.
VI. A POPULAR version of the lace
frock is shown in this frock, which uses chartreuse face over chiffon, with a flowing train at either side, and a princess line. Here the lace is treated with the utmost severity of line and absence of fussiness, and the effect is restrained. The revival of the feminine in the new line and the choice of those materials which are omamental in themselves, permit simplicity.
this light and airy dance frock is made in capucine chiffon over flat crepe,
VI. severity and absence of fussiness feature-the princess lines and flowing trains of this frock in chartreuse lace over chiffon,