IN FASHION'S REALM.

Otago Witness, Issue 3101, 20 August 1913, Page 66

IN FASHION'S REALM.

By Marguerite.

WEEKLY UP-TO-DATE DRES3 NOTES

Yes, you may trim many of your new hats, if you do not want to take what is offering. Wo have never had such a variety of shapes and expressions at the dawn of a season. It comes about through the continuance of the pick of the winter ideas and the anticipation of part of the summer. The illustration is of the new French sailor of patent milan, which is an imitation of the more expensive qualities. The straight

brim—observe ! —is turned up at an angle all round, which is essentially French in that it is borrowed from a naval stylo. Likewise the pompom, which is clearly borrowed from the one to be seen on the French sailor’s hat, summer and winter, on top. Evolution in millinery is like that in dress generally. Comes Edward to the throne and tho “entente.” by step we see points, one in the other, and while the Paris beau struts about in the latest stylo favoured in tho island capital, my lady more and more favours the mode oi the gay continental. Again a mention of draped skirts, but this time for figures. The dress writer pictures the slim one more often than not; tho dress artist always This is right, as the object in telling of the modes and illustrating them is to impress tho idea. But we are not all slim, and the slimmest can lay tho unflattering unction to herself that years bring a weight of substance even if not of cares. Drapings, therefore, have an added advantage, as nothing is more certain than that a clever hand can make the stout not only presentable, but even charming. Soft and subtle fabrics —“subtle” is good ! such as charmeuse, cachcmire de soie, satin, or, again, some of the season’s fine woollens, silky crepes, and crcpons are made to serve for gowns in which tho apparent swathing of the frame gives distinction to every find. And yet I like the plain—anyhow, for ordinary use. There is nothing that assures so much sclf-satisftfction as a faultlesslyfashioned simple frock. I refer, of course, to linos. There is plenty of room for ornamentation even so, as the combination of materials, too, allows the skilful to indulge in infinite fancy with the best results. But the combination, even when in contrast, has a merging effect. That is to say, it is never sharply defined as in the old-time and condemned habit of a pronounced distinction between upper and lower, which now would be thought piebald. Anyone who, by effect, cuts herself in half in Ur's fashion will assuredly take from her height and thereby add to her width. “The little coat”—l must quote it—will become an indispensable part of the smart toilet. As there is practically no limit' just row in regard to colour it can bo adorned with touches of what the mode-makers have called “futurist shades.” Why “futurist” I cannot say,- but I expect tho elusive character of so much has caused those responsible to reflect that the future is more often elusive than not. I may bring_ in this “little coat” by describing a particularly original gown which is among tho coming creations. The skirt, then, is of black satin souplo, slit upon the left, where it is caught in soft folds and supplemented with a pretty little corsage of fresh pink chiffon, veiled with a cloud of black chiffon and adorned with little sots of pin tucks. Sandwiched between these two filmy vcillings are threaded ribbons' in pale wild rose pink and sunset blue, which are -knotted here and there with rosebuds, or spring forget-me-nots, or both, slipped through the knots. The crowning feature of the toilet is the “little coat.” This is brocaded black charmeuse, embossed with quaint old work gold, a design which carries one back to tho days of our grandmothers. The coat is supplemented with a wide Medici collar of gold lace and little bright rovers of futurist silk in many colours. A fold of futurist silk holds a bolt of filmy gold lace. What you can do with the undraped is shown in this illustration. It is a prettv swing frock of commendable simplicity and decorative value combined. You will have tho front of pattern-loss material and iln rest of a more or less vague stripe on tho perpendicular. Whatever tho more pronounced shade will servo for the cords

against the buttons, the latter being in more or Ires sympathy or not', as you happen to decide. Personally. I would have the buttons pronounced, and edge that collar in keeping. Then, carry the dual idea of the dr*s colour into the hat which, ns you may gather, has a hedge-like frill rising from the otherwise narrow brim. The panel proper ends at the knee level, hut the side lines arc continued; and for the width there is a series of pleats, five or > x over one side from centre and the equal over from other. The artist hero has erred a trifle, .as the mail} centre line, which is pronounced, should also mark 'he •dividing lino of the lay of the pleats. The cuff being unimportant. I leave that part to your imagination, but have raised one arm to show the depth. Though a small enough matter, permit mo to say that your belt cr

girdle can mar, if it cannot make, your trock. Where there is so much trimness your belt should bo trim, and necessarily m completion, and the tab-end should not be anyhow; but, on the contrary, be long enough, and short with it, to identify itself with the line, if there is one, of the front. It is the smart little etceteras that catch the eye of the expert in dress.

Blouse wear must strike a future note. For one type there is a shoulder joke with panel extensions well down; in fact, to throe or four inches on the sleeve. The blouse itself gathers into the line of tho yoke, and the neck is open to the width of that necessary feature. Superimposed on this yoke is a collar of lace to the depth of tho yoke at neck to nothing on tho shoulder, and straight across at back. Tho blouse buttons in front on a band of insertion, five buttons and a tab of insertion from the band to each. A frill goes against the band, wide at the top to nothing at tho bottom, fifth button. The insertion is used for a band and bars on cuffs, buttons repeated. Material selection—white cotton voile with trimmings of blue cotton ratine, or, cotton crepe or charmeuse. Another 1 Everything here in the collar which forms a front, thus: -It is as wide as neck to shoulder on which it points, back curved. From the shoulder each side comes down in a sweeping curve to nothing just above tho waist, and tho two sides semi-close at low neck, tho division being even all tho

way down, buttons either side with cord connections, simulating links. The collar sides are stitched for decoration, and frilled to finish. Material selection—cotton crepe with collar of pale tinted or white voile. Another, but more difficult to explain! The blouse shows the sleeve coming through, lias a round neck, and pleats by simulation cither side into girdle. The front buttons on the side line from half shoulder to some way down where it is “stepped” in, so that the top is extended, the scam below being more to the front. Two buttons are employed above, with decorative loops. Material selection —any medium weight linen, or othet choice. Another! Shirt-like effect, with sleeve cap in one, overlapping sleeve to long close cuff. Front like a man’s evening dress waistcoat, buttoning thrice I Actual shirt effect within this with flat turn-over collar, crossing blouse to three-quarter shoulder width, rounded back. This effect is studded with buttons, and the turn-over is broken on the shoulder with an overlay. I hope this is sufficiently clear, as the stylo referred to should dominate all others. Material selection—white charmouse with that overlay on collar which completes back of same of voile printed in a close all-over floral design in a blond of colours characteristic of Bulgarian and Oriental effects. But the basis may be printed voile with the other of lawn.

I promised you some collars, but could not get the drawings through in time. These will be for next week. The collar is an important feature, and in some stylos the dominating one. For some etceteras in passing I should like to say that the slit skirt has been soundly condemned in all the groat centres. Nevertheless there is a considerable difference between slitting the skirt, side or back, and employing a little vent. I can see no harm in the latter, which, on the other hand, has much to recommend it. The vent at side for two or three, or even four inches on a proper skirt —one that permits of it—is with an overlap, buttons and buttonholes. Complexion dressing—your own complexion—is an important note, at all times. A fashionable dame has exploited the black-and-white craze in a dinner gown the skirt of which is a combination of white brocade and plain crepe do chine. The two materials join in such a manner that the flowering portion finishes in a point at the waist, while plain crepe do chine borders

ono side of the train. The centre of each rose of brocade is silver, and a row of pearls outlines a winding scam in the side. Scarves of black tulle of unequal length cross one another and veil the train. A shorter one is tied in a loose knot below the waist. The fashionable world has much latitude, and in addition to black and white is just now over-daring in colours —I refer to dinner, reception, etc. black and white rules, and incidentally black ornaments for the hair are much favoured and look very effective with white gowns. Queen Mary designs hats—her own. Peradventurc her Majesty designs not a few worn by her daughter. Maude Anderson also designs hats, but she is a professional; one, however, whose work is mainly in the direction of tuition. The picture shows what may be done with a very little for the

production of a smart spring hat. The size is medium; the brim rolls at the left side and is deeper at the back than either side or front, and the materials are white satin straw for the shape anti black velvet for the brim facing, and two pleated frills of maline for the encircling of the crown, such divided by a garland of small flowers. Not much in it, so far as work is concerned, but much as regards the result.

White and black combination are again freely used. With them we- have some extravagances in the quantity of maline and like .sheer materials, which arc posed as art decrees. Some of the new straws appear in two tones, such as dark blue with grey, mole or taupe with slate grey, etc. The selection just given emphasises one of the newest forms of trimming, and surely it is pretty. As time goes on, hats will more often turn up at the back, where, as already said, we shall see the weight of the trimming. The brim peaks a bit in front, and rises gradually at the side. Then it merges into the trimming, though 1 expect the skilful manipulator will be able to reveal more than said. These back trimmings may entail a low coiffure; something on the nano of the neck. I have a few profile pictures in the way of advance notes, and they confirm this impression. Certainly all millinery wants to be chosen for its affinity with the dress. The colour scheme should—nay, must, bo uniform for a perfect ensemble. I am inclined to say that the shrift of the extremely small hat will be brief indeed. While not revolutionary, it is disputatious—that is to say, it defies the call of the coming months; and how quick they are once you hear their footsteps! Whatever your hat. it must suit you, your stylo of features and complexion being ever the first consideration.

I have spoken of blouses, and wish I could give a picture with each rough outline now. The best I can do is to supplement with another, and this time a drawing. I could not have described it without. Hero you have the two-colour effect again, and the most made of it. It is blouse with a separate skirt or blouse of costume, as you happen to decide. The front is novel and

attractive. Though email, the collar has a balancing assistant in that quaint overlapping addition well down. This additionally serves for a base for the h.ttlo front with tho bows. The blouse is freely tucked from tho shoulder, and the sleeve is more than usually attractive. Two sots of three balf-tucks above and below tho elbow and tho cuff loaves qothing to be desired. Angled as you see, button-studded for its length. Never attempt to write a fashion article; then to write two; then 52, week by week. I can toll you it requires some stage managing. You have to tell your story connectcdly, and you have to tell enough each time. An equally important thing is not to tell too much. There is the reader’s power of assin'iilation to be considered, and one has to spread one’s thunder to last out. Dresswriters play an important part in the department of frills and feathers, furbelows, and other things. They have done no little to elevate dross by inviting thought and helping to concentrate it. Readers will always make allowances for a professional

“ cross'p.” whoso duty it is to interest as well as instruct, and occasionally—only sionally—to make bricks without straw. The season reveals itself by stages ; it is like the opening of a flower. You may guess what the bloom is ! ; ko and sometimes find you are wrong. Spring is a season of leaf and bud together, and the unravelling process is just as entrancing as that of Nature herself.