FASHION NOTES.

Auckland Star, Volume L, Issue 105, 3 May 1919, Page 20

FASHION NOTES.

(By AN EXPERT.) r.ARIS. February 3. Looking back to the spring openings for two or three years, we find the cape introduced with ' clock-like regularity. The 1919 spring season is proving no exception, for the cape and the wrap-coat dominate the early showings in the coat line, with only the- minor details differing from the wrapped coat o!" the -winter season, and the capes and cape-coats of last spring. The spring wrap-coat is made in two ways; one is in cape effect, with extremely wide outlets for the arms, cape back, and a scarf collar, and the other has wide arm-holes and a full-loose back, which tapers narrowly at the hem, which effect is produced in some instances by gathering the fullness into the hem. A draped collar is sometimes used on this style of coat. This draped collar, usually in taffetas or satin, i.- frequently used on the new coats. The sleeves are full length, and are made wide and without cuffs. Tan and navy tricotine, gabardine, and silver-toned velours are again in evidence in the early models. The one outstanding feature of the earliest display of spring frocks is that they simply serve- to emphasise the strong affection the designers and dressmakers have for the tunic frock, the draped skirt, the collar.ess neckline, the long eleeve and girdle-, and wool embroidery and bead trimming that continue to be shown in the new lines. Frocks without number are being made with horizontal lines of trimming —sometimes bands of braid, sometimes pin tucks or cording*. Unquestionable it is an accepted fashion, to divide the narrowest and longest of skirts by innumerable and horizontal lines. In a frock shown, and likely to be popular, the bands of braid extend all Hie way ro-uii,l the skirt, and the horizontal lines are repeated in the abbreviated peplum nt the sides and back. The material used is very dark blue serge, with black braid. The wide girdle, which is buttoned at the middle of the back, is bound with the braid, nnd the revers are finished in the same way. There is a narrow, rather tailored-, looking collar at the back, and the vest- j front iR cut straight across the top. Bather heavy embroidery, covering the lower part'of the skirt', is use lon a number of the newest dresses. One instance is a combination of velvet and satin, both black, used in a dress sli.htly in the peg-top silhouette. The velvet is used for Cue long-waisted upper section, which is absolutely plain, with a collarlres nek line cut straight across at the base of the. throat. The skirt, from the hips down, is of the satin, so closely covered with embroidery that the ground fabric is difficult to rccotrnise. Quilting is applied on taffetas dresses much the same as fine braid was usee* on sertre frocks for the winter. A cniilted scroll pattern on a navy blue taffetas reaches above (he knees, and a Russian tunic, belted below waistline, with simple, plain neckline, is

long enough to meet the quilted border. Taffetas is also effectively trimmed with tucks, embroidery, or applique bands of "Georgette crepe, and is also combined •with satins. Coloured silks printed in small designs are combined with p>Jn creamwhite crepe de chine. Printed Georgette and figured silk voiles are again in evidence, and are usually made entirely of self-material and trimmed chalk beads, and the girdle is generally made in satin, taffetas, or plain coloured Georgette crepe. In collars, emphasis continues to be placed on very narrow, simple effects made of fine net. of Georgette, or of ■satin. Some of the handsomest of the satin novelties are banded with white pique, and another new idea in satin is the use of hand embroidered military and naval designs. These novelties have Tlie progress of collars generally has been somewhat retarded because of unsettled fashion conditions. Bound, square, oval, and "V" necks are all represented, necessitating an unusual vnried assortment in the wardrobe. At the moment narrow, round, and square collars appear to load, but interest is shown in practically all types, varying in degree in different sections. OUR SKETCH. Orey sniin is combined with brocaded silver tissue in the evening gown illustrated. The tunic of the brocade falls in loose folds, and is caught together

with a ceinture of silver roses. The sleeves arc of the kimona order, while the skirt and the under corsage are absolutely untrimmed.