FASHION NOTES FROM LONDON.

Otago Witness, Issue 3033, 1 May 1912, Page 65

FASHION NOTES FROM LONDON.

(Fbom Onn Own Correspondent.) LONDON, March 15. A Gradual Change.— There is every indication that the kimono sleeve will last all through the year, for dresses of silk and ninon and washing cottons, blouses of ninon and silk and mudin are thus made. But its adoption is not

compulsory as it was a year ago, and there is a distinct tendency toward the return to favour of the leg-of-mutton sleev© and the sleeves made to reach the waist, 1 lie kimono cannot conform to the demands of the leg-of-mutton shape, while it is very difficult for it to bo made of wrist length. Some autliorities consider that the! kimono pattern is dead, but this is hardly so just yet. Although so many people have worn it, few’ have a good word to say about its comfort. It is one of the most hampering patterns of sleeve ever invented, and its long-continued popularity has been rather surprising. At the same time, the majority o.f the smartest blouses are made in Magyar sihape, and those with seamed-in sleeves are apt to look a little dowdy just at present. The long sleeves with soft lace rules at the wrist will indeed bo a welcome change from the short sleeves that makes no attempt to cover the elbow, and leaves exposed all the lower half of the arm. All the winter through the bare arm has looked very unhappy and ugly, for purchasers of the readymade Magyar blouses with abbreviated sleeves have made no attempt to wear lace cuffs to reach the wrist. The long sleeve, finished with a soft ruffle at the wrist, makes the hand appear smaller than it is. whereas a great bare expanse from above the elbow not only exposes the ugliest part of the arm, but also makes the hand look much larger than it need look. Other Revivals.—• ,

The jacket bodice is here all serene; it began to appear quietly some months ago, and no one realised that it was coming. More startling, though, is the marked indication of the pointed bodice. In its early specimens it is cut long On the hips, and ttie point in front is too long to set’ well unless stiffly boned. However, we have not arrived at that stage yet, and it is quite possible to carry out the idea of the severe line by avoiding a meeting in the front. With the all-in-one gown this is quite possible, the bodice with its deep point being placed over the dress just as one would put on a sleeveless coat. Already one or two of tire Court gowns have been made with the pointed corsage bodice. It has an old-tirao appearance;'but there are a good many indications of the return of olden-time styles. One of the latest skirts, for instance, is trimmed round with a gathered flounce, put on all round juat above the knee, and no trimming effects could look more like century than the flat pleatings and the bcuillonnes of taffetas which decorate so many of the dresses and pelerine capes and mantles and fichus. The pelerine cape is itself an ancient relic; and the up-to-date edition may bo made of satin or taffetas or ninon, and there is no need for it to be of tlio same fabric as the dress, seeing that the taffetas pelerine is quite suitable to be worn with the mousseline dress, and the pelerine of ninon seems to be quite satisfaetory as a finish to the dress of taffetas. The pelerine of silk reminds one still more of early Victorian styles when it has a border of long silken fringe. Eminently suited to wear with the dross of reversible satin is the pelerine of the same stuff, for the colour contrast provides all that is wanted to Introduce the trimming. The pelerine cape knows no restriction of shape. One time it will describe a sharp point back and front, shortening about the arm. Another time it will reach just below the hips, and there be cult in a square, while deep points appear at either side. The fact that it is convertible too, will help to popularise the spring pelerine. It is rather a convenience to be able to wear the same thing in two distinct ways, as could be done by one of the latest pelerines shown. ■ Ancient history, too, seems to come back vividly when we hoar so much about panniers. At present, however, there is seldom any attempt to loop those up into bunchinose. Rather is the pannier overdress allowed to fall as it will at either aide, there to be gathered into a hand of handsome embroidery, which makes a finish midway between knee and ankle, leaves room for the display of an undordress, and has the effect of a panel front and back, beginning as a narrow point and widening out to the foot of the skirt. Girls will be glad to hear of the revival of the pinafore coreago. This is a pretty style for a young figure. It may be sleeveless or it may nave sleeves—if the former sleeves and yoke will be in one and will be of lace or net; if the latter, there will be little undersleeves to correspond with the pointed vest and neckband. The point on the pinafore top needs a little edging of embroidery to outline it, while a turnodback narrow collar is effective, too. Hound the waist there is rather a wide belt, and os the corsage is in one with the skirt, it will by degrees taper off into points about the knees, or have a trimming of embroidery or bouillonne so put on as to suggest the presence of a double skirt. No one will go wrong to adopt the pinafore pattern for the tub frock whether of cotton material or of shantung silk. There will bo no indiscretion either in choosing the style for the dress of shot taffetas or one of hair-striped silk. - Processions of buttons, too, are arranged with such generosity and in such manner os to bring vividly to mind many a dlress worn by sitters to the photographer 50 years ago. Some of the buttons are the simplest' things possible, being merely covered with silk or satin. Pretty, when appropriate, are the wee buttons of mother-of-pearl, each set displaying with special prominence one special colour it may bo mauve or blue or coral pink or green; the colour always is associated with white, and these buttons, set in dose rows __ down drees, skirt, and blouse, are attractive in their iridescence, whether as a finish to a fabric of plain colour or one of a shot. Shirt blouses of extreme simplicity having fronts set in fine pin-tucks, are immediately made smart by the addition of a close-set row of these pretty shot pearl buttons The glass button cut info the gliiterintg facets is seen on the dress and the tailor-made, and it glistens forth from the costume which ia composed largely of the new epongo or towelling material. There are buttons in sizes large and small, made of pink rock, crystal, lapis-lazuli, various descriptions of jade, horn dyed in colours innumerable, and enamel which is always effective. In contrast to all these, which are more or loss bright in character, are the rough-and-ready horny-surfaced buttons made of plaited' string. Sots of buttons about five or seven to a group decorate seams; larger sizes do duty as fastenings. —A Useful Skirt.— Buttons are a feature of this, also buttonholes, * Jid they are mode to unfasten from the waist to the hem, though it is not likely the whole row will ever be undone. These are placed down the left side, and there are 15 of them. The skirt itself is of short walking length; it is nearly always

of the moderate corselet pattern neatly finished off with a piping and rendering unnecessary a waist-bolt; its back is made with a panel stitched down foe moot of its length. About some of these skirts there is the suggestion of a hip yoke; but this is only apparent, and the idea is carried out by means of narrow and fine braiding, there being no join in the skirt. The braiding is applied quite elaborately at times, following the line of a ori'S-s-ided tunic or suggesting a pannieir as it completely covers the right hip and then tapers upward to nothing to the left-hand side of the waist back and front. These skirts will be vary useful to wear with blouses with or without braiding, for the chief attraction is the row of buttons, and as the fastening is a. front one the type has much to recommend it. Round the hem at the foot are a few neat rows of machine stitching. Cloth is used', so is serge, and there are colours light and dark; in most cases a coat will be provided to go .with the skirt, and some of the spring coats promise to be very neat in the fitting, keeping close to the outline of the figure, back and front; with an inner waistcoat to finish the front, tapering of! to naming just as the ccat itself is going to describe a round line as it is cut away below the waist into a rounded back. —For Everyday Folk

There Is one material in London, that everyone is obliged to patronise for useful wear, and that is navy serge. Again, the spring models, both of coats and skirts and one-piece drosses, are made of serge of the darkest shade of navy, woven in a very fine twill. Some of the coats have a patchwork appearance, but these can be avoided. The ideal navy serge crastumeooat is of medium length, it is semi ntting, but very shapely. There are rovers, but those ore often wholly of a colour such as beetroot-satin, or they may bo just touched with a colour, and it is surprising how affective may bo just a little wedge of tartan silk fitted into the corner of the revers, into the cuffs on the sleeves, ajui into the band of black satin that is put on teh coat near the edge across the underarm portion. A piping of striped 1 or fancy silk following the outline of the collar and revers, too, provides an attractive finish. There are coats with one rover only, there arc coats with two revers, and some of these are large, the alternative to colour being revers of white or buff, and not a few are made of eponge or sponge cloth or Turkey towelling. There arc whole suite made of this curious new material, and the tone selected is often a buff colour though there are some pretty shades of harebell and old rose as well. However, sponge cloth, new as it is, is not quite suited 1 to the needs of the everyday woman She will remain faithful to one suit of navy serge, and another possibly of the strong whipcord which is a recent introduction. „ _ , —Some of Our Bats. - Hats sparsely trimmed seem to need the addition of a handsome hatpin to relieve blank spaces. A novelty ot the week is the hatpin-head of carved ivory, wonderfully made, representing for the most part classical figures of Grecian gods and goddesses. They are expensive and justly so, on account of skilled workmanship. Hat-pin-heads of carved horn, dyed m pretty shades and patterned in fruit-blossom sprays encircled with a ring of horn ot the siro of a crown piece are still in deCurious is the way in which, cockade ornaments made of pleated silk or satin, stunted in height, are planted' almost on the crown of some of the hate. One of these is the only trimming on one side of the shape, on the other leamng against the upturned brim is a mere buttonhole of the tiniest flowers known, resting on a brim lining of block velvet. Immense clumps of flowers—very often the fuchsia — stand erect en aigrette at one side, planted night on top of the crown. Posing easily on the top of another straw crown one sees a bird with outstretched wings ready for flight; but he is a fixture, though he has the appearance of having just alighted for a breather. Many of the hats with trimming springing from the crown are lacking in crown-height, but this is not always so. It s a delight to see the return of the picture hat, with its brim gracefully raised high at one side in a becoming sweep; an inch-wide binding of black velvet is there, and the trimming consists of a lovely cstrieh feather lying gracefully along the edge. Dressy hats of black Tagol and black crinoline straws are thus shaped and trimmed. The hat of pure white straw, edged underneath with a line of black velvet, is very attractive. Its trimming consists of white wings fastened in with a simple knot of black velvet.

The fashion is fast returning, too, of placing trimming underneath the brim, a spreading bow of black velvet or a cluster of small flowers resting embedded in the brim lining of finely-pleated Valenciennes lace. One white hat, with a ruche of nleated Valenciennes lace and an upstanding oockado of the same, had most of iis trimming under the brim; it consists of a slenderly-made wreath of blue forget-me-nots, pink rosebuds, and lilies of the valley. Rather strange is the arrangement of taking a solitary rose, with great length of stalk stripped of foliage. This rose is made to stand erect, and climbing up the stalk will be a velvet pansy, a little cluster of lilac, and a golden-coloured wallflower. Half a dozen of those curious sprays are made to stand up all round a tall-crowncd hat of crumpled lace-straw. f)"«' the mill inery successes ie the Allan Richardson rose made of deep yellow chiffon. There is rather a tendency at the moment to use flowers of all grada-

tions of yellow deepening to rich orange, i and some of the most successful are the j wallflower sprays made of velvet, of a realism that has never been equalled. Much of the spring millinery is gaily 1 coloured, notably in the case of the hat intended for morning wear with the tailormade. Cerise and flamingo perhaps head the list, but there is a great deal of ultramarine blue, and also a brilliant purple which is called eveque.

—Brevities of Interest. — i Evening bodices are still often made with a band of lace or metallic embroidery stretching right across the figure and passing under the armpits; over the .shoulders and arms is a slight veiling of nmon, following a line that is rounded or square or pointed, according to fancy. The chemise Magyar sleeve still is a feature of evening bodices. If there is no fichu drapery only a minimum of ninon covers the shoulders and indicates the decolletage. The idea of passing a band of trimming across the figure and under the arms is gaining in favour with the day bodice ana the blouse, and many of the summer onepiece dresses of broderie or Swiss ® m ' broidered muslin will have a scalloped piece of the embroidery spread thus across the figure, completed by a yoke of stuff! best in ; keeping with the dress. i Embroidered lawn has the preference tor collars, many of which are made with bib effect back and front; others simply decorate the back of the coat or dress and make no effort to pass over the shoulders. Many are round in shape, others describe a Jong and tapering point reaching nearly to thl3 waist. These collars without front portion are intended .to be worn also with silk and satin wrap coats. There is scarcely a wrap I coat to be found that is not relieved somei where by a touch of good lace or bngh--1 tened by having the revers made of silki embroidered net in colours and patterns S that are very attractive. i For fancy-worked nets and metallic nets there will be no falling off in request; the latter, however, must always submit to a veiling of black net or ninon, for mysterious softness and subdued effect are required above all else. , Coats, as well as dresses and blouses, often have the sleeves finished with a pleated frill of net; something to correspond finishes the neck, and the one-sideo frill will often be there to keep the wristlets in countenance. Neck rufPles of tulle and shot taffetas continue to appear every day, some of them being finished with small posies of velvet flowers set at intervals in the fulness. These ruffles have been introduced chiefly for the benefit of the devotees of the collar less bodice, but they are quite appropriate to be worn over the snugly-fitting high collarband of lace or shadow net or metallic net. In Paris the collarband is worn as high as possible until it often looks j chokoy as it follows the shape of the neck from the chin high up behind the ears. ! It is never too high to allow a narrow plisse frill to finish it at the top. There is a suggestion of the Medici collar about some of the most modern coats; the collar is cut in one with the coat at the back, its height is quite moderate, and it rolls over slightly about midway up the dross neckband; at the front it slopes off to nothing, and there the revers come) feo the tailor’s aid. Th e Directoire collar is shown occasionally, standing up high to the throat and then rolling over slightly; huge revers accompany it. Indeed, gigantically large revers are a feature of many types of coat, notably, perhaps the theatre wrap and the travelling coat. These revers are made to droop and to drape if the material is pliable enough, j Usually the accepted rule has been for ' one-sided effects to begin on the left shoulder. Now it is getting quite usual for the right side to bear the decoration. The one 'largo rever of a black satin coat is a wide expanse of emerald hue beginning on the right shoulder and finishing off at the opposite side of the waist. Some of the blouse frills follow the same direction, and where there is one rever on a dress, though it is usually placed on the left side, it is occasionally seen on the right. | The pointed collar of lace or satinpointed down the back, I moan—has its replica now in feather. For quite the latest variety of ostrich boa, instead of hugging the neck, is shaped to a V, and from this point depends an extension of feather suggestive of the influence of the pointed ood or R cape which now is so usual. These feather boas are in self colours and in mixtures sufficiently large of choice to match any piece of shot taffetas that can bo trotted out. The fronds are long and , weeping, as they are, too, in the case t>i the Lancer ostrich boa, which again is a loading lino and which, also, covers a large colour range. A new variety of Japanese silk is made with a hair line, in effects of grey and white and black and white. Previously the hair stripe has been reserved mostly for taffetas. In Jap silk the effect is A T ery good, and, of course, the stuff is soft lUd flowing.