IN FASHION'S REALM.

Otago Witness, Issue 3197, 23 June 1915, Page 68

IN FASHION'S REALM.

By Marguerite

WEEKLY UP-TO DATE DRESS NOTES.

The features that hall-mark this season are sometimes very simple. Even braid is simple —that is, the application. Braid is much in evidence as a trimming - and in all widths. Here let me say that width should be governed partly by material, and partly by the size of the wearer. A wide braid is not nearly so taking as a narrow one on the petite. Then fur is more than ever a fashionable trimming. But for choice let it be flat and narrow and in harmony with the material. A coat of the right kind is greatly improved—sometimes —by an application of very narrow fur. On the other hand it can be quite spoilt by a broad, hairy, or “fluffy one.” Incidentally, all kinds of dress accessories may be edged with fur, even lace collars, the strip being aa tiny as can be. I hold that when fur is used at all, hat should be identified with costume. A fur-edged coat and a fur-edged hat go well together, and prevent the suggestion of patchiness. Again, buttons are in »vid- tike b<* ! rvg due partly to the styles and partly to the popularity of military expressions. I have always advised readers to keep buttons, which are capital stock season to season. -There are some, procured one time, that can never be matched another. When it comes to trimmings, braid, fur, buttons, etc., get the best going. Though seemingly a minor detail, such arrest the eye at once, and quality always counts. I thought I would drop a hat this time for an overcoat. And then, having had the drawing prepared, I found that it gave mo two full lengths. For such reason I cut it

off where you see, leaving the skirt to your own excellent imagination. As it is entirely plain, it will not prove much of a task. The object in the selection is to show what can bo done with the coachman’s capo. There is something extremely cosy in tills, treatment. As you will sec, it has not been allowed to displace the collar, which, in the form shown, improves and is improved in turn. The revers are of length, and that gets one to the prettiest feature of all—the “X” strapping.. This, an always fashionable note, is peculiarly effective in the case of an overcoat. Come back to braiding, and you see the value of a corded one. At the same time a pronounced stitching would be nearly as effective. A coat of this character would be a wise selection, as it is, or something like it, unless you have made on© already. The double skirt still holds a very prominent place. . At the same time the expressions of it are as varied as the shades of the chameleon. Some of them display pleats or godots, some are open in front. and some, again, are closed. The double effect is sometimes obtained by i\_ long rodingote which is somewhat - full in the lower part. This is worn oyer a fairly narrow skirt. All coats and jackets tend to length, and then to lengthen a little more. Some open in front ovef a waist-

coat—a pretty style always,—and some fasten close up to the throat, single and double breast, and they are smart. The high Napoleonic collars are a very strong feature, but not more so than the roll. There is something exceedingly attractive in the high, fairly close, but not too close, collar open in front, and with a roll to the same depth in contrast. The face may be striped, and against a plain material the effect is charming. More so is this the case when the fronts turn into little revors, one doing so, the other not, and the one that does is striped in keeping. The materials for coats, capes, and the like are diagonal and mouflon serges, cheviots, rough friezes, and woollen velours, with a surface reminiscent of deerskin. The suede finished cloths in the heavier weights are most commendable for their draping value. But if I get on to materials again I shall not know when to stop. And yet I cannot pass that delightful velveteen I just handled —a corded one showing two colours. Touching colour, the loaning is still to the quiet, dark shades. They arc always the preference of the real elegantes. Black, navy, and other deep blues are much favoured. Then an elusive greyish green, copper, and deep brown or choice selections. Quite an aristocrat in the list is a deep violet—a tone far too difficult to describe, and indeed impossible. I come back to trimmings, because the previous paragraph was scant. I want to mention the fancy buttons of paste, painted porcelain, and metal. They liven up the sombre coat, frock, oven blouse, wonderfully. Trimming' do more than include braids, buttons, and furs. There are made trimmings—finely kilted frills wluca trim frocks of the thinner materials allowing of their use, and r.titchcry. It may sound odd to call stitchery a trimming, but where it takes the 'place of it for the same effect it. merits that name. Some of the tailored styles, for example, rely solely on numerous rows of machine stitching and a few wellchosen buttons. W here the stitchery is for a trimming effect it. must be perfectly done. Braiding, I may say, is never seen to bettor effect than when on a cape. Those Napoleonic styles arc fascinating. All that savour of the Italian are in the front rank. Not many would consider sashes a trimming. are, and it is when they give just that, finishing touch that makes the smart toilet smarter still. What do you think of a trimmed glove? Too early for more than the bare mention, and it will assort, itself only when the leaves sprout and the buds appear on new pink shoots. It is on top of a tiny gauntlet the dearest little hedge of pleats in the world.

I am tired of illustrating the flaring tunic. I want to show you something that looks like a long coat, and yet isn’t. Truly, it

is a beautiful creation, and by a master hand. The long-waisted, section is peculiarly attractive, and the way the sleeve is set simply superb. It is close, too, and that is one of the cardinal features of this kind of garment. Note the buttons, and how they are continued on the crossed side of the extension. Never was a sash employed to such advantage. Indeed, it is as necessary as anything else in the design, as it breaks the line, and gives the garment its double section effect. On a young girl of slender figure this dress would be ideal. Picture it in velveteen—what could be better?

There is something related to dross which I should like to re-emphasise. I observe that more and more English writers on the subject are saying: “When you choose colours, stick to your own. When you choose materials, see that they are British, and, failing that, French." How can wo aply this locally? Without doubt you always patronise your own; but in case of forgetfulness pin this paragraph where you can see it. We want to start at the beginning ; therefore, always patronise the local house. Then, when you go in, do so with the fixed determination to have what has been made by your countrymen and countrywomen. There is no sacrifice : n this; and where are there better at their “game”? Then, when it comes to styles, do all you can to popularise what expresses your flag. In London, I see, they are doing everything possible to wear designs that remind the beholder of the throe Kingdoms, first one and then another. In millinery Scotland has the eternal advantage because of the cap—it is seen in every conceivable variation. The national design is always a national advertisement. Now, you can understand why the clans of any country developed a national garb. It cam© out' of patriotism which came out of war —the essence of the flower. If you want a military expression without overdoing it, what of a costume —coat and skirt—in this style? The coat is stepped in front like a man’s dress-coat, though

not so much, and buttons once. The sides are repeated in a side tunic on the skirt, the division in front being something more. Then the coat has broad revers. Here’s where the military comes in—braid on the revers, the coat-sides, and the long tunicsides, but in _ horizontal applications, as though bordering each! And then it is in several bands, with a division between each. Of course, this may be obscure; but it is the only way to convey the idea. No description alone will ever tell the story of a. design except to the very _ apt. This is a stylish blouse of white charmeuso and black satin. The high collar is made with a roll-over of organdie, and is continued down in the form of a yoke in front, and over the shoulder forms a circular capo extending to waist-line. The yoke

and capo are bound with black satin, and the points at sides are buttoned down to the underarm. The waist-lronts and sleeves are cut kimono, shirred into yoke, and fasten with green olive buttons at centre. The straight cuffs are edged with black satin. A deep girdle is also of black satin. And now a couple of dresses—first a costume of tan gloveskin cloth with trimmings of self-coloured "Velvet. The waist and tunic are in princess style, divided at hip by a band of the velvet, which is shaped up in a curve to the right side of front, ending in an ornament. The neck is cut round and slightly shirred, with a throw-over collar of the velvet, square ends edged with white fur. The back is made slightly fuller and shirred into cordings above the velvet. The sleeves are set in, and have a narrow cuff of velvet with white fur buttons. The tunic of the cloth ia higher at -the sides, falling in ripples io the hem, where it is stitched down to foundation front and back. A band of velvet topped with white fur. forms the horn. Then a tailor suit of green faille and black velvet. The coat of the faille is fastened at centre-front, and has an cmpiecement in the form of a revor, braided' and edged with black velvet from neck to waist. The slight fullness in front is shirred on each side into the lower section. The roll-collar is of velvet. Raglan sleeves with cuffs finished with braid and tassels. The fronts of coat are cutaway, and end in a point at back. The fullness at back above waist is shirred into lower section. The skirt is of black ■ velvet, and has long tunic divided at centre-front, knifepleated on each side to kuee-depth. The narrow underskirt is of velvet.

And, again, a pretty model is in black chiffon velvet and sapphire-blue chiffon trimmed with bands of blue jet. The waist is of the chiffon shirred into a round yoke at neck. The sleeves are kimono trimmed with a row of buttons from collar to wrist, ending in ruffle, under which is a lace ouff. Black satin ribbon extends round waist under the chiffon as high as the bust. The skirt is composed of the velvet with a deep front, and side-piece of the blue chiffon over white satin shirred into the belt. The velvet, beginning in a square tablier effect at back of waist, is bloused under the bolt, and continues in a deep curve to the front, slightly godet and short. Girdle of blue jet crossed in front just below waist, ends tying loosely at back. The accompanying blouse owes its recommendation to its prettv shoulder treatment. It only shows how old ideas give place to new ones by suggesting them. The shoul-dor-pieoe is a yoke; but consider the tabs.

The deft way they are passed through the fronts will appeal to everyone who wants something military without overdoing it. Probably a small button on each ovcrpieco would improve; or, if not there, then on the tab below.

Save all the scraps of good toilet soap and put them into a little jar, just cover with water, and place in the oven till melted. Then pour into a little pot and use for shaving soap. A Warm Mat for the Feet.—Take half a dozen newspapers, double them in half and cover them with brown paper, bind all round with some coloured material. This makes a most comfortable mat to keep the feet warm. If a little tab is sewn on it can be hung up and used when wanted.