IN FASHION’S RLALM.

Otago Witness, Issue 3168, 2 December 1914, Page 66

IN FASHION’S RLALM.

By Marguerite.

WEEKLY UP-TO-DATE DRESS NOTES

Paris has long wanted to revive the voluminous skirt. The Russian tunic provided the chance of doing it so deftly that none might trace the process. The short tunio is not strictly Russian, unless we say peasant. The Russian tunic of the classes is hereditary with them —long and skirty.

I have a diary somewhere: the British Embassy to Sweden, then a Great Power, 1645. The Ambassador sneaks of something of intense interest, the appearance of the first Ambassador ever sent out by Prussia, then the Duchy of Moscow. He appeared before the Swedish Queen in a long coat, buttoned fairly tightly to the -waist and then spreading like a woman’s skirt to between knee and foot. That is the hereditary Russian tunic, and it is the one which has com in as the most telling feature in present styles, with a sure life for months. It is assisted by the sash. This is the

onco round and then again in festoon to hip, with knot or overfold. The ends are long—as long as the tunic, and while the latter may be as subdued as you like, the sash is gay, or, if not, then rich. Not to wear a sash with the tunic is to discount its appearance. It is built for a sash, and must have one to accomplish its purpose. The variety of sashes is only equalled by the variety of dispositions. One tunic has a swathed bodice, and tho sash appears to be a continuation —a very happy conceit, but requiring much “dressmaking.” _ Incidentally the tunic finds some oxpi’ession in the newest cape. What the cape does is amplify it, and in this connection I note a growing inclination for frontal straps. That is to say, tho cape is associated wjth cross pieces over the bodice front, very like the cross straps of an old military uniform. Summer is giving us this fancy in more or less modified style. As the season progresses tho straps will widen. Later on they will constitute the entire Front, being brought over the shoulder, and then we shall see below the simulation of a waistcoat. These capes grow in length to back, the edge undulating, and then, if there is a tunic as well, the effect is ideal. But tho stvlo is rather advanced. Before we can utilise it for all it is worth we must sec summer in the background. Tho little hat is still one of the dressiest. But, —you can have a little hat that is large at the same time. This depends on tho way it is trimmed. A coquettish shape is indicated with a daring trimming. Two ribbons arc employed—one plain, the other

not, the latter check or floral, and the design impressionist and faint. The millinery ribbons are exceedingly beautiful, but there arc none so nice as those whose patterns are of pastel softness. A hat of the character is smart with almost any kind of dress, simple or ornate. The sailor is one of the correct shapes for summer wear. It is in various adaptations, and nevertheless of sailor type. The •i any smart si vks of trimming to which this shape lends itself are beyond mention, but one of the most favoured and becoming is that of a succession of smart mixed p;cquets around the crown, with a highstanding mount at the side. I have already spoken of the sailor with the narrow brim, with extension of transparent material. The shape itself is of silk, even velvet, and a simple flower or tiny wreath lends enchantment. Soft linens and shantungs form some lovely costumes. In kilted skirts of striped cotton with coatees of plain linen nothing can bo more delightful. A throetiered skirt of white soft linen, embroidered in bine around each flounce, with loose kimono-shaped coatee of bhio linen _to correspond, with a sailor collar in _ white, embroidered in blue, makes a particularly effective costume, and with it is worn _ a little high-crowned sailor in white moire tagcl with a band of bluo cord ribbon wound round the crown from the top left of the crown (where it is secured by a high white quill), culminating on the brim with a tinv bow. Another vagary of the season is the use of black tulle on cotton

frocks. Naturally, tlxis is the water-proof, non-crushablo tulle, and it is used as a tunio and to form a largo waist bow. Frequently black velvet ribbon is used as a foil. Queer as it sounds, the tulle drapery on cotton frocks is tremendously successful. Summer gives us more volume, more freedom, and, if I may say so, more sanity. Take tub tunic frocks ! The bodices arc of easy-going shape, and almost anyone with half an eye —and a pattern —can establish a fit. The skirts should be simple, and indeed are —nothing tight-fitting about the waist, and tho upper part completed by gathers. The fabrics are adorable. In tho silks there are souplc chiffon taffetas, figured and plain crepe de chine, crepe oponge, silk crepon, crepe bengalino, silk grenadine, and the very loveliest voiles and delaines, both plain and printed. The cotton voiles are alluring, and a flowered cropon is ideal to express a tunic. To be more explicit, suppose we take a white ground patterned over with pink roses. It is charming for a tunic either of single or double flounce, and more so still if the tunic is shaped. There is one before mo now, though tho material is different. The tunic is double-pointed—that is, in twoflounce style, arched in front with draping points at side. These points aro carried up over the blouse, and this is an excuse for “braces.” The choice is a pale Icmonyollow delaine patterned in roses for all but tho blouse, and this is plain. Tho hat is a Tuncan straw, shady kind, with band of brown velvet across crown and lemon yellow bow on turned side. Some of the very smartest summer gowns have the double tunic, and one may bo plain and the other not. Picture a gown in voile, white for blouse and first tunic and lower skirt. This tunic has sloping fronts from centre, and then comes another tunic, s’mo cut. but striped—white and cerise The sash with frontal bow is the same, likewise cun below elbow. The blouse is finished with a fichu collar of fine white lawn edged with lace. For tho hat, it is black, garden variety, trimmed with powder-blue ribbon and pink roses, and edged with tulle. The “ bustle ” skirt continues to attract. As a guide the accompanying illustration should prove serviceable. Tho “bustle” skirt is only suited to a slender figure. Then, —it requires a professional band. I have gone to trouble to trace tho fines in this. Just to show you what should bo accepted as the limit. Of course, there aro many different expressions; but I purposely singled out a simple one. As you will see,

the draping at side is slight, and festoons to the pleats. The “bustle” is simply a tuck-under, but —the art conceals art. You will also get an idea of a pretty blouse front, and also a pretty collar. The “bustle” skirt is equally good for afternoon and evening. The leading note with the season’s blouses is the ease with which they may be washed. Nearly all the materials are of the washable kind, and shapes are such that “get-ting-up” is a bagatelle. The materials are flimsy —fine linen, voiles, net, etc. Blouses to wear with tailor suits include broche, crepe de chine, and a fine Japanese silk. One of the newest muslin blouses is Raglan style, but the sides from under arm, observe, are panelled, and flounced to the frontal extension of the shoulder section. When the arm is down the flounce to the sleeve seems to cascade in contumation.

Voile is a favourite selection, and some of the blouses develop nicely in plain and striped. Thus, take a blouse in plain, but put a shoulder shield in, striped, and then a lower section to belt, this being in four scallops, front, back, and sides. In the same way the sleeve is plain to below the elbow, then striped, and then plain again (cuffj.

I’d defy anyone to " explain this blouse without the picture. It is one of the very latest, and surely one of the very prettiest. It needs little description. The fronts cross and swathe under arm, and note how the frill is employed. Then note sleeve—a pretty thing, very reminiscent of the boudoir, with pouched under section. These blouses are seen in another form. They simply tie round with frontal ends, and result in charming effects for the present season. The bolero blouse is an easy step. _lt is particularly up to date. But imagine the bolero : ‘off,” and then a blouse in ecru net. The bolero is a dainty thing that looks as though it were put on afterwards. Tho shoulder pieces are narrow there; but they widen, tho result being a shield front between the sides and the bolero where it comes together with a bow. The lower edge slopes round side, and is frilled, the under-blouse just showing below it. Tho bolero should be of the same material as the skirt, and in this case suppose we say soft blue satin. The brctelle blouse is one of tho latest, with bends of embroidery coming straight down either side of the front. It looks • well in almost any of tho new soft washing materials. In white batiste, trimmed with Valenciennes lace insertion and embroidery, it_ is an excellent choice. Another now design is very simple, tho low shoulder being lined to under arm with applied cord or narrow ribbon. The same festoons round neck below one of those quaint over-folding collars that always remind one of a certain gentleman whose walking-stick is a pitchfork. A patterned voile is ideal, with collar of sheer white linen, cord in red satin, neck, and piping round shoulder as mentioned. The cuff will be in keeping, to long sleeve. The capes costume to attract. This is oils of the very prettiest—a form of cavalier. There is a jaunty look about it as though it avero thrown half off. It may be worn with those fashionable cross straps across blouse or not, as preferred. In this case there is a waistcoat with pretty over-

lapping collar. Note that the collar of the capo is high and free—the sketch cuts it off. The short cape is admirable with many frocks, and suits three where the long cape only suits one. _ The petticoat with voluminous fussy frills is a thing of _ the past; nowadays, the simpler and skimpier a petticoat is the better. And quite the _ newest designs are being made Princess, with bodice and petticoat'cut in one. Only the thinnest, filmiest materials are used, crepe de chine, muslin, fine Jap silk, and even chiffon have all been pressed into service. A very pretty design for evening wear has a top of white_ Jap silk with a deen flounce of pleated chiffon, the’edge finished with an insertion of fine white lace. This is stitched on to the chiffon and pleated with it. There is no lining to tho flounce, the silk ending whore the chiffon begins, just below the knees. But for everyday wear with thin summer frocks nothing is nicer than a design in nainsook throughout, trimmed with fine lace and insertion. The skimpy flounce is arranged to give plenty of room for movement. It is slit un to form deep tabs, and these are finished quite simply with lace, while at tho top is a dainty arrangement of ribbon and little bows, the same forming tho shoulder straps. This style of petticoat is equally prettv and suitable in muslin or any fine 'washing material, and is easy to wash and get up. , The dress artist, or the artist for the adornments associated with dress, is called upon to devise suitable ornaments for all types of wearers. Consequent on the sad, sad happenings in Europe, society m England and elsewhere mourns her brave of army and navy. Sombre attire, therefore, is much in evidence. London jewelleis are manufacturing jet and black bogwood ornaments of various designs. The I’et is beautifully cut. glistening and scintillating in a high degree. Necklets and pendants, tiaras, brooches, even bangles and ' fob chains are cssaved: while .the bogwood ornaments are artistically fashioned in floral and fruit designs in miniature, small b-rd and insect life being also represented, ihey ■are all of a verv high order of merit and in pverv case finished with gold pins, clasps, or buckles, as tho article requires, adding greatly to their intrinsic value. IfOIII P l ift*. Would it not be infinitely wiser, asks an authority on family life, occasionally plan some unique pleasure in the borne so that verv early in life the children could be made to realise the possibility of natural and spontaneous pleasure-making in home conditions? “Little children, as a rule, can make any .amount of _ amusement for themselves at home, and it seems such a pity not to develop and guard this happy, wholesome capacity for fun and rejoicing. The narrowness of family life won’t vanish, simply because a common home existence is reduced to its lowest possible denominator.” Later on in the article a member of a very happy and united family was quoted as "explaining her secret of a delightful home life. “All of us were taught from babyhood that we owed something to the common stockpot of business, and we were all encouraged to give something of individual talent and merriment. “We were taught that it was bad form to come to the table mopy and dull. We were made to realise that it was a reflection on our own intelligence if we could not find happiness in the home we had helped to create. We never felt we 'were just lodgers at home, because mother always made us feel the privilege of helping to build up a place that would be a house of rest and happiness for us all.”