LATEST LONDON FASHIONS.

New Zealand Mail, Issue 1205, 5 April 1895, Page 12

LATEST LONDON FASHIONS.

]?rom Our Own Oorrespondent. Se&ent street, Fettfttairy 9. Aii exceedingly ladylike and stylish little bonnet is illustrated in Fig. 1 this week. The shape is of the favourite Dutch, or Evangeline kind. It is covered with White cloth, striped with rows of hafroW steel trimining, and bordered entirely rotiiid with narrow black fox fur. A smart little butterfly bow of black velvet is fastened by a small steel buckle in front, and a boW of velvet, rather larger, and supplemented by a full white osprey, completes the back of the bonnet, the strings being also of black velvet.

A man who can talk “ chiffons ” is a rare and peculiar, if not very exhilarating, specie ; but one who can positively make them is still more notable. The gentleman milliner, who is now driving a most prosperous trade in the West End, designs and makes every bonnet and hat in his fashionable showrooms entirely himself; and—with the exception of one young lady, whose sole business is to act as model occasionally, for customers to see the effect of the confections when worn—no women are employed in the establishment. Many actresses patronise this gentleman’s productions in millinery, and they are generally to be trusted for finding what is becoming and stylish; nevertheless, the designs we have seen have appeared to us to attain smartness and daring, rather than elegance or refinement.

Fig. 2 shows the latest design in sleeves.Sleeves are sleeves nowadays, and they can scarcely be accentuated enough; therefore, hny fresh arrangement is warmly welcomed., Tbe ohe ih qtiestioh is cht tight to the arm till Well above the elbow, when it bhfstfe pht ihto a species of ehofinotis bow, gathered in the centre by a long bhekle:

These sleeves are generally cut all in one, and a good pattern can easily be pro* cured whereby to cut it; but if attempted without a pattern, the easier .Way is tp cut sleeve and boW separately. Many bodices (but more especially Velvet ohes) are noW being cut perfectly plain, and fastening at the back as shown in this design. The mourning now Worn by the Empress of Russia and the Grand Duchesses is sufficiently notable to interest my readers. For the first three months black flannel is the sole material for all occasions, made high to the throat, and long sleeves fastening close to the wrists; the skirt of the Empress has a train 10ft Bin long, the Duchesses being limited to 7ft. Collars and weepers of black bordered Batiste, cap of black crape, and veils of black crape; one for state occasions covering the whole of the dress. After six months, cashmere is substituted for flannel, and white crape caps and collars to replace the black. Long gloves are to be worn again this winter for evening and smart day wear. Theatre gowns have become as much a feature of modern dress of late as tea gowns, to which they bear a strong family likeness.

In Pig. 3 I give a particularly pretty design for one of these elegant robes. The robe itself is of yellow broche, with a white design, and cut a la Princesse. Bretelles of white chiffon are crossed from shoulder to waist, terminating at either end in chiffon rosette. The loose hanging front to the gown is also of chiffon, with the sleeves, which are very full, and encircled three times by bands of gold passementerie.