1935-04-19 — Page 3

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HONG KONG DAILY PRESS. FRIDAY, APRIL 19, 1935.

SPRING Style

The Art Of Arranging

Flowers

cription. But two things must be First, the materini remembered.

Ls perishable and must be hurdled with assurance, Second. "nothing is more disastrous to a satisfying final effect than sprays tucked in here and there as afterthoughts.

Having preconceived her design,- the artist can choose wisely her container, as a first step to mak- ing that design, concreta.

Flower Containers...

A profusion of cut flowers les suficient guide without trans- upon the tables, for we are giv- ing a house-warming party. In the pantry and here and there in the rooms there are vases, and water runs fresh and cool from the fauceta. Is the problem of the decorations solved, then, by the presence of these three fac- tors, flowers, vases, water? By no means. The flower pictures have yet to be painted. Blossoms thrust higgledy-piggledy into containers into containers give as lttle setse of beauty and home as do chica und glass displayed in sales- room, where they are merely un- related items not yet harmonized with daily living. Every arrange- ment of bloom cut for the en- hancement of our working and playing hours can be a design in Läes, shapes and colours, of which the materials are the growing forms from hot-houses, gardens fields or woods.

Those who have studied flower paintings and still-lifes In mus- eums and galleries and the, com- petitive arrangements iri flower shows have a head-start in steps toward achievement, writes Helen Johnson Keyes. In the "Christian Science Monitor." But even they. however, may stand confused be- fore the mass of stems, leaves and petals awaiting such selection. combination and harmonization in vases as an artist gives to a composition he plans to represent "on canvas.

There is, however, a means of bringing order out of contusion. This is analysis. By its means the elements of bloom Awaiting organization salate themselves and assert their particular func- tions and their relative import- ance in the project. Thus wo come to understand which are individual factors that may be used in building, the picture and where in the mass of growth given us to work with we can find these factors.

Analysis of Materials Through, analysis we discover that the elements of which 5 flower picture is composed are:

'1-Stalks, stems, branches and thair: lik, which by reason of their - interesting curves set the pattern

of the composition.

2-Flowers considered as forms, which because of their great Variety in shape, ranging from pompoms to bells, trumpets and spires, enable the composer. to achieve an interesting contour for ber bouquet and to fill her spaces In fascinating ways.

3. Flowers considered as pig- ments with which can be painted colourful still-les,

4---Buds, berries, seed-pods and leaves, which; animate the, com- position by telling the story of growth and fruition.

1 HO

F

5 The container, which <mporttat feature of the entire design and must be chosen bc- cause it complements the rhythm, the colours and the textures of the arrangement, and because Its apparent weight is suited to the dimensions of the bouquet. More- over, if a period style of bouquet "or a national one is attempted, the container should be chosen to reiterate the idea.

The kind of importance that vases have in the complete design of a flower piece is that of ex- pressing the arrangement,

never of expressing themselves indepen- dently. Therefore, except for use in certain period effects-such to complete a French or Victorian reproduction-it is wise to elimi..... nate ornate.containers.

Transparent glass is attractive for light, dainty arrangements with pretty stems that do not become slimy in water. Pottery and certain modernistic massive.. glass, has power and dignity as a support and complement for heavy blooms. Unglazed pottery. because of its intimate earthiness. is very fine for blooms with fibrous stems, coarse leaves pompom heads, such as chrysan- themums, dahlias and zinnias.

ard.

contour

are most

Bronze is particularly becoming to linear arrangements in the Japanese style. Copper and brass are entrancing with allrich and subtle colour hatmonles, because the high lights and reflections in the inetals augment the chroma- tic play of the blossoms. Few- ter is more becoming to flowers than silver, which Is too Uver- powering, too elegant, for any but the most sophisticated hothouse varieties such as spiendid roses,

Odd shapes often are valuable as continuing a certain in the "bunen" and easily avalable in modernistic de- signs and in Venetian glass. A household utensil sometimes pro- vides the curve of angle describ ed, and if It is not water-tight" can be given a metal lining at a hardware store-in time at least, for the next occasion. The basic forms constantly needed are urn- shaped and other pedestal "vases of various heights and with open.. Decks (tight necks destroy botin the life and grace of the flowers): bowls, flat dishes (for vertical flowers, such as water lilies); and those cylinders, rectangles and squares that are used in labor- atories.

are

be

vases

Carrying Out Colour Scheme Vases in solid colours can employed effectively as integral parts of colour schemes, but the. fact must be established at the outset whether the hue is tu the dominant one in the flowers or a minor

tone. Black beautiful with jewel-tored blossoms; while containers need not be regarded as merely, dainty, they can give great strength and style to a composition: Pat'erned and mottled surfaces are more perilous. The French consider 11 important to repeat in the flowers every shade in such a vase, but this is likely to result moroto- nously, whereas a selection made suspense and surprise may be achieved.

15

The Design Before a single stem is put in

Within the container must be the vase, the arranger, to whom placed a holder for some of the we shall refer henceforth as the stems. For low dishes the holders artist must visualize the ultimate may be glass or pottery blocks appearance of the composition, set up on legs so that the stems Some people will find it helpful are not crowded down on the 'bot- to sketch on paper the, contour tom of the vase where they desired, the masses of dominant not imbibe ecough water. For colour, the quickening "patches of related hues. and, finally, the ac- cents which will cause all the colours to sparkle. Others can form: visual images which are a

high vases, "however, contrivances are necessary that can be wedged into the upper part of the con- tainer For this, pliable strips of lead, perforated metal and supple wire netting with a large mesh are excellent. A convenient stand- by is a piece of potato which has been perforated with a skewer. Holes should be large enough for more than one stem and to per mit of slanting. If they are too capacious to hold the stems ́se- curely they can be filled up after these have been satisfactorily placed. An excellent holder.is made of flexible tubes of lead of different lengths-Such short stemmed flowers as pansies, stand very well in sand. Long branches need to be, ateadled by stones as well as apertures.

NECKLINES THAT ARE HEADLINES

In the daytime, says Paris, skirts should be plain and faces may be plain, but necka and necklines must be just as ext citing and intriguing as you can possibly make them!

So all Ict your benefit I've had two terrific brain-waves-in fact, I have another it will probably end in a brainstorm, And here are two new ideas for collars which are guaranteed to give you an interest in life till you can safely buy your first spring Trock.....

The first is a collar öf ermine

- talis, shown in the next column. I don't know what the real offes cost, I do know that the imita- tion ones are only 2s 9d. dozen. And I don't believe any one knows the difference,

You grade the talls nicely and sew them into a te black eatin band. Then you can just attach. them to any dress' you feel like wearing. They make a plain wool frock look expensive--and they're grand on a black velvet sult that "apes up to the neck. Remember to keep back three litt e talls to put on your hat.

And the second- brainwave,

a coltar of ostrich fea- thers. As a matter of fact,

thought of it years ago but it's only just occurred to the French designers Anyway, now it's going to be all the rage in Paris

Ostrich feather trimming costs anything from 1s. 8d. (a nice long one comes to about 2s. 11d. ...or 3s. 6d. a yard, and it's ineant, I believe, for those Jean-Harlowy dressing-gowgs that nobody ever wears in real life. You'll have. to use it double to make a really fat and handsome collar-but a yard would do the trick-you' simply sew it in round the neck. And you can have it dyed for à small charge in one of the zew pastel colors.

Try a pale blue one and see what it does.to an old frocki

A SIMPLE BEDJACKET-

A pretty bedjacket for the con- valescent is quickly made" from a plece of material-wincette or -silk-thirty-two to thirty-six in

ches square, according to the rize wanted, and five or six yards or narrow lace.

Fold the square diagonally again, put it along the fold from one point three inches beyond the centre and round the end of the opening. Blant it to about six inches from the opened point

This shapes the neck. Edge the square and the opening with lace."

Fold the aguares diagonally again, but the opposite way, and it will "Tai into the shape of magyar jacket. Buiten the glee-

NEW PATTERNS IN FABRIC

Blue Rules Supreme

Pifteen Thousand designs, each in six different colours, that is about the number of new pat- terns, in fabric registered this year in this country writes a correspondent in London daily, Never let it be said again that we are not a creative nation,

The fabrics at. the British Tex- tiles Exhibition' are beautiful, and the models' that are created from them do them equal justice. ".

Blue, as a colour, I think rules supreme, the pinks and reds I put second, then there are lovely daffodil yellow and leaf green It's very difficult to judge.

Spota, plaids, and host "of beautiful flower designs nre noticeable, in most of the silks and cottons.

EL

Many of the artificial silks have

a heavy crepe weave which gives them weight and an air of luxury.

Light splashes on dark ground- works is a popular tendency in the patterning. A practical one this, for it gives freshness and at the same time real wearability for the dweller in towns, where pastel shades soil quickly.

two-

Light and dark together is a favourite combination for pleces and sults. Sometimes the dress is light, sometimes dark; it depends entirely upon the choice of the wearer. Contrasts, not "matching." 18 the 1935 fashion order.

Spots and spot-and-stripe de- signs are -amongst the fashion- able printed patterns for the spring and summer; and I also noticed the loveliest floral print-

ed linen crepe in gay colouring

of bines yellows and rust; reds, yellows and browns; and duaky" pinks blues and black, all on ivory grounds.

"

How fashion changes! The ittle lump on a linen yarn known as a "slub" used in the old days to be regarded with horror, and all yarn was passed through a spe- cial machine, known 3.8 the "slubbing" machine, which cut out this lump. Now the "sub" is really, the basis of all the popu lar tweed linens,

Gradually during the last few years, linen has been coaxing and wheedling its way into the faa- hion salon. Up to a mere Яve years ago it was almost exclusive- ly, accommodated in the house- hold linen cupboard, while to-day It occupies a prominent place in every smart woman's wardrobes:

A linen expert, who has spent " his business le dealing with the manufacture of linen, tells me that whereas five years ago pro-"-- bably less than 5 per cent. of the linen manufactured was tor dress, now as much as 30 per cent, of the fabrics are designed expressly for the fashion salon.

But then-dress linen is so ze- formed in character that it could slip through the keyhole without showing any signs of distress Many of the newest design liriens are so crease-resisting as to be almost uncrushäble,"

Some of the Paris model houses are this season buying Irish linen in all its range of lovely colours and patterns and are showing it made into suits frocks, evening dresses, hats bags and shoes!

ves together in two or

The fronts

the garment "may" Dé & Jen loose" ribbon

even

South Arcade,

Eve

Opposite Hong Kong

Hotel

China Building

designs in

Mayo's

HONG KONGOPPE HATS for EASTER

Stunning

new

Straws, that will place you perfectly in the Easter Parade.

New Shipment of VOILES.

Gloucester Building.

"Linen Coats

from $12.50

Smart Wash

Dresses

from

$4.50

Pig-Skin Trimmings To Greek Line Draperies

Creed, the tailor, is using big checked woollens in soft, bright colours to make loose, half-length jackets to be worn with " plain dark or light skirts.

used

Pig-akin trimmings are on dark coats. A blouse in grey "and white has 1935 worked inta a monogram as the pattern. A linen coat and skirt is figured like the coat of a zebra. An or ange knitted pull-over is worn under a yellow suede waist-cost with a brown coat and skirt.'

Ardanse, the dressmaker, shows a pale rose linen dress with a big straw hat "trimmed with

flowers. A bunch of pink radishes is worn on the skirt of the dress and a watering can is carried by the mannequin.

Another dresss, called. Thistle- down, is made of fine white tulle white shaped into big fruffy flowers on the skirt, and the... bodice looks like a bunch of the blossoma. A puff of wind might blow the whole thing away, so Eight is it triumph of, dress, making. Its twin is all in black and very becoming.

ORIGINAL FASTENINGS

Vera Borea dresses 2 girl to look like a stage Jack Tar, cap and all complete.

collection are wide and long, fall- ing straight from the elbows, sometimes "plisse," or perhaps draped, looped, or caught up in some simple way.

WIDE NECKLINES

Necklines are wide and collar lesa, just the shape that comes naturally from the material being used straight across the showi ders.

J

Evening dresses are Greek in line and drapery. This is a grace- ful tendency, as was shown in one trock of plain, pale rose crepe with a silver girdle, in another of Ivory white, and again one in black. There are many dresses In plain black.which have neither trimming nor colour, "Arid--al- ways there is the peculiar bolero cape with long "cape ends fall- Jaz down the front and the back. The mannequins who show the dresses have that clear, fresh look, with their hair smoothly done in front and tight- y curled behind. A slick blonde girl wears a pearl grey satin dress with the skirt full and long behind, but not very full in front.) The bodice fta-what there is of it and there is a loose frill" across the chest. The sleeves are full and puffed.

A Agured evening dress which

1s attracted notice 2 highly flowered taffetas like calendared chintz, with full skirt and puffed # a low, wide neck. short sleeves, and, to go over it, a long coat to

She has all sorts of originál. Ideas for buttons and fastenings; gold nuggets, moon daisies in bone or composite, long glass clips, white celluloid bows. Sho also uses pig-skin as trimmings "And every coat and dress has a inatch

belt of some sort.

A most charming dress is "in white smooth-cotton, rather` like” angel cloth. It has a long, um- brella-shaped skirt, high bodice with puned elbow sleeves: at the neck is a big brooch of little glass flowers iti several colours

Robert Piguet gets the most- effective results by the simplest means. He puts a pale, colour- less dress or coat and skirt with a scarlet neck-tle or blouse, ir for the beach, the pyjamas will be scarlet and the loose gost black In Vive la France a navy blue skirt and long cape are lined with red, white, and blue stripes

of dinerent widths used horizon-

tally, the same material making the blouse,

On a pale grey dress he puts "a"black belt and a little black hat to go with it black dress may have a short white bolerp. a crear dress has a little bright red handkerchief cape fringed "at the edgear bran

Another black dress har a big eliver, loop on the waist-belt, and at the neck, a littic stand-up collár of vivid green,

Again, the dress, may black, beautifully

wide.

Dleeves In