career goes from strength to strength, she neglects friends, treats associates badly and makes business enemies. By the start of the 1950's Martha too seems to have had her day; appreciation for her designs tapers off, after a failed love affair with a deceiving lothatio, and her reputation falls. Those she has alienated on the way up are only too happy to watch her on the way down. Meanwhile, Alison, having initially declined to return after finding great success in America, eventually decides to return after all, prompted more by loyalty to one whom she loves at the company more than any sentimentality for Martha. Her own designs are acclaimed innovative and contemporary by all. Now, it's Alison who's 'in', and Martha who's 'out': the cycle may begin again. Cast Jane Hylton as Martha Watkins Ian Hunter as Arthur Turner Terence Morgan as Edouard Muriel Pavlow as Alison Martita Hunt as Mme. Alice Brian Worth as Michael Kay Kendall as Lady Caroline Frencham Ronald Squire as Mary Jane Dana Wynter as Barbara Joyce Barbour as Lady Burridge Harold Lang as Mr. Louis Margaret Withers as Miss Madge Lucienne Hill as Mme. Lucienne Diana Decker as Crystal Leroy Arthur Lane as Sydney Bruce Audrey White as Gwen, the model Naomi Chance as Primrose, the model Barbara Allen as Anne, the model Dorinda Stevens as Flo the barmaid Anna Turner as Lil the barmaid Frank Tickle as Mr. Paul Helen Forrest as Maureen Mara Lane as 'Little Dark Popsie' Avis Scott as Journalist Conrad Phillips as 1st Photographer Bill Travers as 2nd Photographer Alan Gifford as American captain Bruce Seton as Club Manager Valerie Mewes as Model (uncredited) Critical reception The Times gave a scathing review of the film in 1952, saying: "The boldest pen may be excused from shying away like a nervous horse at a high fence from this truly deplorable film. Its world is the world of Haute Couture. It has probably got most of the details right and very admirable are some of the Technicolor backgrounds, but that is the most that can be said in its favour". The New York Times was also less than enthusiastic, drawing comparisons with the earlier British fashion picture Maytime in Mayfair and commenting that British films about haute couture: "have a tendency to run somewhat to froth". It concluded: "Well, let's be gentlemanly about it. Maybe there are those who can