Evening star., 1947-01-08

burn, Is ScrapleSS, Smockeo Win
elastic. Some of McCardell's short
beach coats and fishing suits" with
a decided Portuguese influence have
bonnet-hoods attached to them. The
signature note in her collection is
the use of big, pouchlike pockets
on each side of her skirts and on
her pedal-pushers. If the pockets
aren't on the front OF the skirt then
they are on the back. In some cases
on both sides.
Her cottons as usual are in
teresting. She uses them in combi-
nations of stripes and checks to-
gether. The off-the-shoulder bodice
and puffed sleeves are other Nc
Cardell touches in her evening,
beach, and city wear.
| Pauline Trigere, said by many to
be THE designer of them all, showed
one of the loveliest and most ex-
citing collections we have ever had
the privilege of seeing. There is
no exaggeration in her designing.
Her tailoring is superb and the use
of light textured wool, nylon net,
and pure silks from France are q
| joy to behold. Her evening and
dinner clothes seem almost too good
to be true. Simple and distinctive.
A relief from the gaudy and bese-
quinned apparel seen last fall. One
of the most beautiful gowns was one
of gray over deep sky blue tulle.
Layer upon layer of &ulle made up
the skirt and the bodice had string
shoulder straps. A cape in matching
gray and blue tulle covered the
shoulders. Pauline Trigere designs
for the knowing and exacting woman
who cares not for frills and furbe-
lows. Instead demanding expert
tailoring, workmanship, fabric and
pace-setting styles.
The Bruno collection was good,
but repetitious, showing first the
long and then the short version of
a dress. His jackets are q bit
shorter than others seen. He uses
the tuxedo theme in many ways.
Sometimes solid color jacket with
a striped skirt, or vice versa. Also
he uses open front jackets with
gilets. Necklines on his dresses are
soft with a scroll-cut to them. An
other signature note in his collection
is his use of a pocket termed the
kangaroo pouch" pocket. Pleats
and tiers and unusual prints are
also featured in his collection.
The Herbert Sondheim collection
was not only one of the shortest but
one of the best. It also proved that
Mr.. Sondheim has a magical touch
with dress. News in the way of
a hemline called the "taut" hem
line was spotted. This is not a long
length. 1t is midcalf. Reminiscent
of the hobble skirt but without any
of its small stepping and uneasiness.
The contour belt" on many of his
dresses for afternoon and evening
was another style setter. This belt
curves from the waist at one SIDE
to the hipbone opposite. Hiplines
are rounded and many feature
orapery at one side. His accordian- !
pleated dress in black with long
sleeves, a rather low scalloped-out
neck and a full skirt drew applause
from the visiting editors. Another
spring note to watch for Is the
stole look. Sondheim interprets this
in shaped shoulder cape effect,
especially in a gray two-piece wool
stole suit with gunmetal gray
belt trim, an ensemble that would
draw rave" reviews from all. Mr..
Sondheim draws our rave" for |
having one of the finest collections !
seen in New York. It's not extreme,
but the ingenuity and expertness
synonymous with a Sondheim de-
sign are apparent in every piece in
his collection. Also in his collection,
as in the Trigere showing, was the
very new short-s1eeved coat about |
which you will be hearing more a |
little later nr |