MAINLY FOR WOMEN

Greymouth Evening Star, 12 October 1934, Page 9

MAINLY FOR WOMEN

ITEMS OF INTEREST

new embroidery.

(By Clemence Kerr)

The revival of interest in Japanese art is responsible for a fresh type of embroidery which is coming into vogue, in which English stitches and materials are used in a light and charming way in floss silks on a gold or silver crinkled rayon fabric, The embroidery achieves the “crackle” look which is so fashionable in parchment and pottery handicraft work at the present time. The designs arc purely Japanese, pagodas, trees laden with* cherry blossom, ornate little bridges, smooth blue lakes and fleecy clouds, introduced in decoratively flowing lines, and with, of course, Japanese figures. This style of embroidery is being used for whole “sets” for both personal use, in the way of lingerie sachets, and for table runners, cheval sets, cushions, and many other articles in the realm of home decoration. Pastel coloured silks are used, and the finished appearance is so ight and delicate that this work is harmonious in almost any setting.

In tiiis modernist aspect for important embroideries, wall pictures, panels, and screens, large or Small, designs based on colour prints of old Japanese paintings on silk could be well adapted by the artistic woman. Many of these prints are essentially modern in spirit and colouring, despite their antiquity, and the lines are wonderfully decorative, ■whether the subject be a single figure or landscape. As an example, there is a print of a picture by a seventeenth century artist of “Nakatsukasa,” a famous ancient poetess. This is a kneeling figure, with two-thirds of the background in a beautiful shade of red gold, with a deep rich green and ivory coloured foreground. The graceful robe in soft red and pale jade blue and green has touches of gold; and the sash, in a lighter tone of ivory than the foreground, again with its emblems in gold, gives a decorative and absolutely modern look to this design. It would be “at home” in the most severe of modernist settings, and the beauty of colour and line would be always a joy to the beholder.

In the lesser world of artistic embroidery the small pictures which -give 3o much pleasure in their working are now appliqued as well as worked in cross stitch. The well-known “Santa Maria” has the sail ciphers in crim;on linen or silk, in cottage garden • cenes the thatch is put on in bright brown linen. This touch adds to the attractiveness of these needlecraft pictures, and lessens the time spent in stitchery. One of the' advantages of this type of embroidery is that it •s so effective and yet so quickly done.

Applique is also used for vivid .plushes in colour in flower subjects, for the blue vase in a group of goldon marigolds, or in a flower here and ■.here, if the flowers are large enough to treat in this way. The gayest of flowers are a feature of Venetian Work, another phase of needlework which will attract many women this winter. Here the art of cutting out flower shapes takes the place of fancy stitchery to a large extent. Petals and leaves of brightly coloured, soft felt cloth are posed in designs on a canvas linen in natural colouring. This is not applique work since the flowers have to be made up. before they are sewn on to the canvas. The main idea is to keep them as flat ac possible, and to achieve a striking and harmonious arrangement in the co'ouring of the super-imposed petals. The effect is distinctly modern, and the floral sprays and groups can be used to decorate many articles in home decoration, including sachets, boxes, and cushions, and the ever useful tea cosy. Embroidered linens arc showing a more colourful tendency; although the colouring is usually of tho pale pastel order. Pale rose and pale jade linen guest towels have ends embroidered in contrasting tones. Trolley sets of two tray cloths and serviettes are treated in the same way. There is a good deal of open work embroidery, the lighter Madeira and Richelieu work being used for luncheon sets, the stitchery done in a deeper tone than the linen, or even in colour, blue or gold. Afternoon tea cloths are decorative nowadays, and a good. deal of embroidery is lavished on them. This may be raised or multi-coloured silk work in natural or conventional floral designs, or bordered in a lace like open work embroidery, in which buttonholed “ties” have an important part in the background of the design.

HOW TO USE LEMONS An Early Morning Drink, —Place the juice of a lemon in a tumbler, add 9 or 10 raisins, and fill up with cold water. Leave this overnight, all ready to drink first thing in the morning. This is an excellent genlle. laxative. A hot lemon drink may be improved by adding honey for sweetening instead of sugar. Lemon juice purifies the blood stream —dissolves acid which causes aches and pains—clears the skin of blemish —tones up the-whole system. Every woman should take the juice of 1 lemon every day of her life. Sparkling eyes, a clear complexion, abundant vitality—these precious treasures are stored in lemon juice. The juice of one lemon in a glass "of water taken before rising will help to cure sea-sickness. Lemon juice is a splendid gargle. A good wash for the teeth is ma.de with twd tablespoons of lemon juice in eight ounces of water. Add the juice of a lemon to the last water when shampooing the hair. The acid removes all soap end makes the hair soft and fluffy.

After' peeling vegetables use k mon juice to remove the stain from the hands. Kor added flavour and tenderness rub beef with the juice of a lemon before cooking. The result is particularly pleasing. Aged, poultry treated likewise becomes finite tender. If you use dripping for pastry, add the juice of a lemon —the flavour will be greatly improved. , ■

COMPLETE PICNIC LOAF.

By Florence White. (Founder of English Folk Cookery Association).

This is a loaf which contains bread, butter, salad, meat and jelly all in one; it is a whole meal, compact and easily carried, and there is no dish to bring home. The first requisite is a good loaf of bread; the best shape is one baked in a tin, because it cuts better. The bread must not be Loo new. Cut a slice right off the top, lengthwise.

Scoop out nearly all the' crumb from the bottom of the loaf and the top, leaving about i to lin of bread all round the crust.

Butter the inside of the loaf thickly with good butter. This is to prevent the jelly soaking into the bread. Make a strong savory jelly with some good clear stock, set with 2oz of gelatine to the quart of liquid. For one loaf you probably want i pint of stock, in which loz of gelatine is dissolved.

Put some slices of hard-boiled egg, and skinned tomato in the bottom of the loaf.

Cut off enough slices of cooked meat, chicken, ham, tongue, lamb, duck, or game to fill the loaf; season, and blend this in a dish with the jellied stock. (You may if you like mince the meat.) When it begins to get cold, but is not yet quite set, pack it into the loaf, pressing it down firmly so that when the jelly sets it forms a' firm mass of meat and jelly. Pack a little into the lid. Put some lettuce or small salad on top of the meat.

Butter the edges of the lid and of the loaf, and when the meat and jelly are quit& cold, press the lid on and tie up tightly. The loaf can be filled with anything you please, lobster or salmon for example, and if desired a . little mayonnaise or English salad sauce can be mixed with the jelly, but the whole amount of liquid must not exceed the proportion of £ pint to &oz gelatine or the loaf won’t cut into firm slices of meat bread and salad as it should. A madeira cake may be treated in the same way as a loaf of bread, only instead of buttering the inside it should be spread rather thickly with apricot jam to prevent the jellied fruit, with which the cake is to be filled, from soaking into the cake.

It is important both with the savouiy loaf and the sweet cake that the jelly should be cold and beginning to set before either loaf or cake is filled with the mixture.

SLEEVES AND SILHOUETTE.

(By a Paris Fashion Expert)

Broadened shoulders were an excellent theme in moderation, but they are disqualified this season for the simple reason that travesty stepped in through indiscriminate adoption. They still exist, if only to a minor' degree, with their original interpreter Schiaparelli—who wisely maintains them for certain types of tailored jackets, and. oddly enough, lake on an entirely fresh sense of values in this designer’s new “cone” silhouette sloping from a high indented neckline. The line is not as simple as might sound, since an acute accent is given to the word “cone” through superimposed capelets that billow out at. the back like eaves. The idea is sometimes diverted to the fronts of frocks in single form and brings a modern note to the peplum trend. . A continued trend for slack over'•outs, with wide “inagyar” armholes is, — but they usually sway on a st "camlir e. When sleeves become easier still wider-backed coats gel belted across the trout waistline beneath double breasted, single centre front button fastenings or wide rever;., which flop into easy line to muffle up on occasions. On these occasions they replace mufflers, with a. giant hairpin instead of a button. Revers may be important, but hi repetition they do not exercise such an influence on silhouettes as sleeves. They seem to demand more attention than ever by bringing interest to upper arms. They achieve breadth in a subtle way without padding. The leg o’ mutton revival of last i year lessens into softly draped movements cleverly cut to dwindle off and away into long tight fitting cuffs. It is a sleeve which adorns many semifitted overcoats and sheath-like frocks with high necklines. Balloon elbow' puffs' of moderate proportion compete in the same spirit with some types finishing off by merely being shaped in beneath the elbows without cuffs. Lanvin modernises the “leg” tendency by flattening the top into a. big square set to point down on the diagonal from the shoulder and carries a “bishop” trend to point slightly out from u coneshaped dropped yoke. On the whole bishop sleeves are more numerous and vary in narrow, medium and full widths. Easing is accomplished by shrinking tweeds and woollens into the proportion, while designed seamings will obviate, gathers in silken and other fabrics. These long unbroken sleeve lines usually end in narrow or deeper cuffs that sometimes show up in seal on tweed coats Io mutch pockets. Fur sleeves might occur, but not in such profusion as during last winter season, and a slender bishop line of caracul dyed dark blue makes a good impression set from the shoulder drop in a currant red woollen coat with a detachable collar of the fur and a broad dark blue leather belt. A detail varying this particular sleeve line comes in the form of goffered ribs running down and tightening up the upper arm as far as the elbow —from where width flows in the 1 ordinary ,way. Goffered lines and seamings are also used for bell "shapes. Wide.bell-shaped openings to some sleeves in afternoon frocks roll l;..’ck. to show a contrasting colour, ind when posed far enough up over the shoulders suggest a bolero move-

i inent on slim corsages. i Sleeves for day wear frocks indi'l < short elbow and forearm lengths, and there is a wide forearm dolman sleeve sponsored by Alix. It is ati'active opening from shoulder to a aist line, but perhaps more suitable for afternoon frocks.