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Gisborne Times, Volume XXXIII, Issue 3657, 19 October 1912, Page 10

LONDON AND PARISIAN

Transparent effects and semi-trans-parencies are the vogue of the moment, and in evening attire are somewhat daring in style, particularly when the ninon or chiffon bodice is cut with Magyar sleeves and worn over a very low, sleeveless slip, closely lifted to the wearer. A gown of flesh-colored: channouse draped with

chiffon arranged m this fashion is quite startling. The most exquisite pale both in taffetas and dull a rage for lace, although flouiiv-y are put on nearly flat. The basqued blouse is already a favorite, especially for smart home toilettes and for evening wear. The basques show much variety, and thore fancifully arranged in long p ants, panels, or tabs suggest the ‘‘drossy- ‘ type of tea or bridge coa.. Scarves beautifully embroidered or Leaded, make charming overslips in cuirass style, but for this purpose must be cut across the centre and joined on the shoulders, the neck lacing rounded or cut slightly square, and trimmed to harmonise either with the skirt or the scarf.

Parisians are proverbially fond of the contrasting coat and skirt, these just now being of reversible material, the brighter color used for tho skirt, and the darker for the coat. A smart finish is given by turning up the color for cuffs, revers, tab pockets, etc., and the dark side is employed in the same manner as a hem to the skirt, the top being brought up in points or otherwise slipped. Complete costumes of heavy sergt in pure silk are chiefly shown in navy blue, biscuit, and champagne- tints. The latter are quite “le dernier cri” and most “chic” when trimmed with the same color, the gloves, hosiery and footgear all matching exactly, and the hat mostly in black relieved with dull gold, or in some deep color, such as amethyst or blue. The coat and skirt- is more usually exploited for these silken fabrics, but the coat is longer than those made in taffetas, and quillings are not employed, the serge lacing too heavy for such arrangements. Very handsome insertions of heavy lace or embroidered net are- in vogue', but they are very wide, and used sparingly. One misses the elaborate braidino-, but much cord is still used for bordering and for loops, and quantities of silken buttons are indispensable on. the smart coat and skirt, whether it be of cloth, serge, silk, or satin. Returning to the basoued blouse, which lias “caught oil” so quickly, it has quite the effect of a coatee when carried out in taffetas and worn over a skirt- of ninon or voile, and might foretell the return of the distinct blouse and skirt, although at present the coloring of the two is identical. Draped skirts are a feature of the evening gown, but onlv the most modified of pannier arrangements is in favor. The festooned sides draped on to a panel back and front aro novel, but by no means generally becoming, and' the separate panniers are too pronounced in style and too utterly opposed to the prevailing modes' here to be a great success.

If we adopt panniers, it will be more in the style of a slightly draped tunic •toil summer gowns of very thin texture. Lovely overdress of lace are drawn back from the front—which is embroidered or thinned—and the folds slightly draped, hut the back hangs long and straight, and in this fashion is very graceful. Indeed, with elbow sleeves and a closely-fitted bo cl ice, cut square aud finished with niiillings, there is quite a Louis XIV. air about the toilette.

Fringe is still much used, and. In many new ways, such as bordering for revers of a finish to square ends on a stole front or collar, or to complete a panel or narrow apron front. The long" roll collar of graduated width fastening to the left side is also edged with fringe, and a great deal appears on the new mantles.

Delightful boas of marabout and ostrich intermixed are prepared in the newest tones, and the ruffles of similar type which fasten almost close up to the throat are just the thing tp wear with' the new coats. The costly and fragile Lancered ruffles and boas are very beautiful and most becoming. and there are many new ruffles in tulle but those with stand-up trills are s-. n disarranged. The newest, fronts and jabots are longer than of yore, and wearable over a plain blouse with a coat costume, or on very warm days coni ole re the front of a* sleeveless slip with a coat costume. In dressy coats the sleeves are of three-quarter length, and have big cuffs, and thev are slightly enlarged below the elbow. The Magyar sleeve still retains its popularity, and is certainly a great boon to the dressmaker, as it greatly lessens her work. These sleeves are now of all lengths, some even reaching quite over the wrist. It is, however, quite an easy sleeve to lengthen, even when the material will not permit of the long sleeve. .Seams are so easily made under trimmings or grouped tucks; or even stitched on beneath a fold. The “little girl” and “curate” frocks are still finished with many buttons, the high waist, and very short sleeves, but although quillings have been well received, a cold shoulder has been turned “to the.fussier frill and flounce, although it appears on some lovely models emanating from leading lights in the world of fashion at Paris and Vienna. An idea for a combination of materials for outdoor wear is grey eachmire de soie and black satin or grey taffeta and black charmeuse, the frontopening over a vest of ivory crepe de Chine, and the overskirt in pannier stvle. Another is a wrap of shot taffeta, trimmed with a centre quilling, arranged on either side with a flat pleating, and fastened to the left side with rosettes of similar trimming. The wide roll collar is still further increased in size by the wide pleating of taffeta. . Very telling is the note of black now so much used on the colored gown, and more especially on rose, blue, and tan shades in taffeta silken serge or cachemiro de soie. Of the new models a toilette is charming in vieux rose or mandarin blue charmeuse, with black buttons and cords, and embroidery in dull gold on black.net, which is veiled with black chiffon. The panel hack is of nearly the same width all down, and merges into a narrow train, and the Magyar sleeves are finished in a charming style, the open cuff falling below the elbow in most becoming fashion. millinery.

It is noticeable that there is very

little decoration of, the large liat. Some have only a narrow watered ribbon round the crown, the ends of which ae simply tied at one side or the back, in the front is a tuft ofaigrette, paradise plume, or a. narrow ostrich plume standing upright. Plain and hard describes some of the trimmings which are uapd oil many of the new hats with high crowns. Nevertheless they look smart ond quite becoming when-the right people wear them. . ’The newest millinery materials—wiiieli include gauzes, taffetas, ribbon and tulle—are all shot in two or three different colors. The outline of the large hat is a pronounced feature of spring millinery. The trimming is of secondary importance and under no circumstances is it allowed to blur the outline. One of the new hats lias a tall mount of palest green wlieat-ea-rs, not barley, rising from a mass of purple and ping scabious, on an oat-colored straw. Another, less “summery,” as of grev blue chip, with a beautiful mount' of ostrich feathers in lemon shading to dull green. A third is a small, close-fitting shape of very pliable brown-straw, with a brim of buttercups and a smart- and original bow of very complicated detail almost coi - 6ring "tlic back. Tliis is ill black silk, lined with buttercup satin. . A large coarse straw liat, dipping at the sides, is in ivory white, with the crown heaped with tan-colored roses in silk, muslin, and velvet. lan satin strings tie all their stalks. m a big bow and pass under the chin to knot at one side. Floral silk is once more to be popular, so far always being veiled. Hats of it are turned down mushroom shapes covered with dark tucked ninon or voile ornamented with wings. Netblouses a.lso show bands of floral ribbon round the decolletage under the net, as clo gowns of silk or cashmere. The new sets is the name given le dernier cri in straw hats, made ill a sort of howler shape, with the short upturned'’ him covered with sil-k, veil to match, or boa- or toby ruffle to match also. American women are once more pmning their veils to their hats as used to Tie done years ago, and for this they are emploving small silver hairpins with fanov rliinesone tops. They are about the size of an ordinary wire pin, hut the points are blunted and the ends so arranged that, when adjusted, one prong slides over the other, thus fixing it securely in place and preventing slipping. . . Another American idea is t-lie nat that locks o n the head—a plan to combat the dangers of the ordinary hat.