LATEST FASHION NOTES.

Auckland Star, Volume XLVII, Issue 240, 7 October 1916, Page 17

LATEST FASHION NOTES.

(By a Parisian Expert.)

PARIS, July 26, THE NEW MILLINERY.

The new millinery seems to be influenced by the all-prevailing spirit of practical commonsense, and there is every reason to hope that, during the coming autumn and winter seaeon, our eyes will not be offended with any oE those grotesque absurdities in the way of head-gear -which have caused the judicious to grieve many a time and oft during the last few years. In the first place, the shapes will be of a lees exaggerated kind. There is a decided change j •in the styles, although there is as yet no one type of hat that one can predict as the popular autumn model. "Canotiers," always a favourite hat with English women-, are not shown at all. The "cloche" shapes, too, have entirely dieappeared. In fact, all the drooping designs have been replaced by those of directly opposite lines, some of the new shapes having large brims turned up from the face in every conceivable way. The "iberet" (tam-o'-shanter) hat, which is so popular just now, is sure to laet until the autumn. A new shape which is also very becoming is the email, high, draped velvet turban, fur trimmed. A most attractive model is a high velvet turban, draped over with a white Malines veil, and trimmed -with a soupcon of fur. It ie very smart. Two other very distinctive hats seen are worth mentioning. One ie a toque of pink velvet rosea, with a quill curling up from the centre of \ the hat—eccentric, but chic in every j line. The other is a small copper-colour felt, with two curling quills from the centre of the crown, which is entirely covered with rows of ostrich trimmings. THE NEW SKIRTS. Tn France it is often the custom for two sisters to drees alike, with some little pereonal difference in the style feaTwes. Two blue taffetas frocks .ire a very good example of this idea. Jet is used on one, on the other a gold tapestry braid. The frills are of malines on one, of pleated taffetas on the other. In one the sleeves are of net, in the other of lace. . Fringe and fringed-out taffetae ruchings are noted in the trimmings of many dreEe edge 3. The large ruffled or pleated Tuches of taffetas or ribbon, I which are used to outline afternoon and evening coats, have picot edges. They are never hemmed. Sometimes they are outlined with velvet ribbon of extremely narrow width, which helps to accentuate (their flare. Narrow folds of cloth, about half an inch wide, are used like braid on come of the new frocks. One tailored suit of tan gabardine has two of these folds of the cloth placed touching. These cover the four-inch hem-top of the skirt edge. Six buttonholes are outlined by slightly narrower folds, placed something like the hook of a hook and eye. "NOS PETITS PIEDS." While the skirt 3 of the tailored, suits are no longer high boot length—they come about to the top of the ordinary boot height—the high boot ie still worn. The pretty fashion of white kid boots has continued popular throughout the summer, and we shall see them still worn well into the autumn. The grey suede boots are worn equally with all colours of suits, as are the white. Occasionally one seee a grey hat that matches the toots. The effect ie very pretty. As grey and blue is to be one of the modish colour combinations, the

grey boot and hat will go nicely with a dark blue tailored suit or dress. THE 'TONNEAU". SKIRT. The tonneau skirt, distended on the' 'hips by a boned form warn under the skirt, or by hoops of boning introduced, into the skirt itself, has taken Paris by storm. The flat, straight effect in front and back is preserved everywhere. This is accomplished by weighting the skirts heavily in the middle, front and back, while they balloon riotously on the hips.' In other instances the ende of the side hoops, which are sewed in some way to the skirt proper, are attached to a tight underskirt just forward and back of the hips. lAgain, an arrangement of hoops and muslin, very much like the bustle which supported "back drapery" in the early Victorian time, is worn on each hip. But this hip bustle is very narrow and long drawn out, and ie attached to the belt, and lightly to the skirt itself, just enough to hold it in place. Each French house arrives at the "tonneau" effect in its own manner, but the result ie practically the same. OUR SKETCH. Skirts, you will observe, are growing slightly longer. Some of the indoor gowns are ankle length, and the boot-, maker has a free hand in the designing of attractive footwear to meet the case. Our sketch is an example of a pretty up-to-date Paris model of the Sugar Shepherdess kind. This pretty frock of grey blue gabardine, with the skirt slightly longer than those to which we

have become accustomed, is compelling because of its simplicity. Note the enugnces of tbe bodice, and the separate sleeves, which in this instance are made of pale grey faille, tbe under jupe being of the. . same, delicate shade of material, and' the' shoes and 'hosiery en suite. As for the chapeau, it is also of the Shepherdess kind—a. grey blue felt, having a. tulle "cashe-peigne" at the back, and a cluster of roeee and pansies for trimming.