Observer, Volume XXXIX, Issue 28, 15 March 1919, Page 21
OPENWORK stitching and hemstitching can positively do no wrong where blouses are concerned. Tucking is also an effective trimming. Deep tucks are used singly midway down the length of a bell or stove-pipe sleeve, and shallow tucks are employed to regulate the fulness of a filmy blouse front, collar, and cuffs.
Coloured pique, such as poilu-blae or nattier blue, is being used for the simple coat and skirt. The pique of to-day is fine and soft-finished, and drapes perfectly. It is quite good, and so is linen, for the sleeveless coat —rose colour, or lemon, or jadegreen, for example—which looks so well worn over a white frock or shirt suit. For instance, what is smarter than a sleeveless coloured coat of linen in conjunction with a white drill skirt and a blouse of soft white voile.
Frocks, complete in themselves, are frequently accompanied by coats to match, so that a double duty is performed. A model of this type, seen the other day, had the upper part of the all-in-one frock carried out in black taffeta, and the lower in fine black serge, a touch of bright emerald-green embroidery occurring
at the waist. And to wear with this there was a black serge coat, cut sufficiently long to meet the serge portion of the skirt, so that when worn the effect was that of a simple, but smart, little tailormade suit.
Wonders can be done with serge and satin (a charmeuse), and how very excellent is the blend—the one so practical, the other v so soft to the touch. The upper dress should always be of the silk fabric, and the skirt of the serge. Needless to say, gabardine will come into the category of the tailor materials that will furnish a skirt for a satin or charmeuse upper part- The tunic type of frock lends itself well to this alliance.
In most of the autumn models draped skirts, rather narrow in width yet not exaggerated, are conspicuous. These new models are not heralded by any creations of grotesque form, as new fashions were wont to be a short time ago. No top-heavy silhouettes, no tight skirts
that are now a horrible nightmare to think of; but the spirit of beauty —let us hope for ever—has entered the new designs, and to all who appreciate charm they will make instant appeal.
Taffeta, soft satin, tussore, Fugi silk, and heavy-weight crepe de chine are being used for tailor-mades. The skirts are mostly plain, and rather narrow, and the coats vary from a fairly long sacque to a bolero style, the fronts parting. to show a blouse or vest.
Dark colours, such as nigger, deep wine, grape purple, and navy, predominate, and, of course, black is well in the running. There is, too, a pin-line stripe taffeta being used.
The new blouses are perfectly charming. High and low collars are to be seen, but the V-shaped neck is first favourite. It is rumoured that the low-neck blouse is doomed, but I shrewdly suspect that rumour will once again be wrong.
Still, it is only fair to state high collars, and collars that are really severe, are being shown.
A straight black satin stock was one I saw, the ends crossing in front and tied in a wide, outstanding bow, a little softening touch occurring in turn-over ear-flaps of white organdi. Another had one of those funny soupplate collars that stand out and yet flop in the most remarkable manner. Then there was a high collar baud, carried straight round the front of the neck, and finished at the back with two short hanging ends. This also wants something soft and white about the top.
A high swathed collar of white organdi, completed by a falling jabot is a fancy older women will appreciate ; but it requires a fresh young face to carry off with success a sort of Puritan collar, that turns over just as it reaches the summit of the throat. It is.entirely a matter of taste whether these collars are made in plain white osgandi or some kilted transparency. Cuffs to correspond are the usual accompaniment-