IN FASHION’S REALM.

Otago Witness, Issue 3201, 21 July 1915, Page 72

IN FASHION’S REALM.

By Marguerite.

WEEKLY UP-TO-DATE DRESS NOTES.

It is not everyone who can wear a small and closely-fitting capote with success, and yet something must be chosen which can be completed with a veil. r ihis new and fascinating feature of the now millinery is left eo short in front that when dropped over the face it only just comes over the nose, but at the back in hangs in graceful folds, such touching the shoulders. The veil, you will note, is of lace, soft grey shadings for preference. If you happen to be the one in a thousand who does not favour a veil, well, there are any number of smart and up-to-date hate, whose adornment is effected in other ways —with flowers or fruit, or both; or, a gain, with feathers and flowers, ribbon or beads. Often the sole trimming of a hat is just one cluster of blossoms and berries, it being then essential that you should secure a duplicate bouquet as a buttonhole. Close your eyes, open them again, and picture the hat of your choice entailing this feature. The boutonnieres are wonderful variety, and while some of them -show contrasts _ of colour, and of fruit and flowers (imagine a little lemon, two brightly pink roses, some softly tinted mulberries, and a marguerite, thus brought together!), others consist solely of one or two big and brightly-coloured French marigolds, and, still, again, it is quite correct to wear just one tiny gold or silver rose. The spring girl will have a dozen and one dresses equally nice, many very different from the one 'described. The description is there merely to emphasise a type, and to show that it is distinctive. I simply could not leave what I have ventured to annex and return to winter hats. As a kind of connecting link I am showing you a model that anticipates the season, and yet is in the vanguard of the procession that is destined to march past the transformation scene. The model is

French, and the original figured in a fashionable London ebop. It is black, with a concession to warmth in the band and rose to redeem the sombreness of the mount. Parisians were calling such shapes versions of the “sailor,” but T must confess that I cannot see much resemblance. Fashion, has decreed many changes The now tailored suits will bo different to anything seen before. One a la militaire is of covert coating. The coat has a panel front, and buttons over—with four brass buttons so please you—to leave a square opening at neck. This is filled by a close collar with lino of small buttons from bow. A petal collar of the coat frames this, and the lower part of the face. The coat has rounded fronts, over belt of self, this haying two buttons, and the sleeve has a military cuff with three buttons. The skirt is very full, but otherwise plain, and short, with white topped boots. Another military suit in serge has a single breast coat, with “V” nook, and ovorfolded military collar of striped silk. The coat has a girdle bolt with ends arranged bookmarker fashion in front, the points resolving into tassels; and the skirt of coat is shaped and falls in folds with skirt itself. Yet another, also in serge, has a Norfolk coat. It is quite different to any seen before. It buttons just like a man’s coat, plain revor, but military collar. The Norfolk straps instead of coming from the shoulder, start at breast pocket flaps, and having passed under deep bolt connect with pockets. The idea is clearly derived from the soldier’s coat. The skirt is full, plain, and short, the inevitable boot to finish — cloth tops, patent golosh As regards new colours the fawn and beige shadings will be equally favoured in the covert coating of the tailor-made, ana the taffetas silk of the gathered frilled afternoon gown. Greys, too, are going to bo much worn, find though this is often considered to be a somewhat trying colour.

there is a new shade —mitraille —which can bo depended cm to suit almost any complexion. Charming in itself it will be at its bust when contrasted with navy blue Black will continue to be most fashionable, aim tne gown of black and chiffon, With possibly a short silk coat to match, will bo a smart, and withal serviceable, form of attire lor the matron of-any age; while the l:ttle black silk dress, gathered as to the skirt, and just trimmed with au array of sdk-eovered buttons, and collar and cuffs of embroidered lawn or muslin will, in turn, bo ideally suited to the more youthful wearers. Many of the now silken frocks will be- almost faithful reproductions of the old-time fashions, which will be the dominant inspiration of the season’s stylos, the tailormades, in their turn, betraying the same influence, with their full skirts and coatees of the Eton, bolero, “pony,” and “money” variety. Then, of course, the shape and tilt of the hats, and their veils in addition, will help to complete and emphasise the likeness to styles which, only a few months ago, would have aroused one’s amusement. This is a compromise. It is a late winter selection —the last winter dress I shall illustrate —with special value for early spring. The coat is on feminine lines, and as you see reveals a pretty bodice-section, the collar of which overlaps the more generous garment. The skirt is modish—plain to knee

depth, and then a series of pleats. While a good enough selection, I do nob claim that it is a spring herald. You will see why when I start the procession of tulifigure models next budget. I return to that drop scone. The house is filling rapidly, and spring is still at the peep-hole! I have told you what a London writer said. There was the girl newly attired; but the picture was only one selection. Still, it would count as chief because the early dresses will, for the most part, savour of the tailored. _ Where they ara not actually coat and skirt they may be coatee and skirt, or coatee, waistcoat, and skirt. But on lines never seen by the majority outside the print illustrations to Thackeray (one book anyhow), to Dickens many, and to Jane Austen. Conventionality puts the young into long dresses as. childhood is dropped for the teens, and these run to the latter, and then give way to sweet 20. Fashion, this coming season, is going to put the still moderately young—and that takes in many whose birthdays would have to be on affidavit—into short dresses. The petticoat-length skirt for street use will recall the dead and gone past; and, who knows? from boots we may get to sandals with cross-straps. The crinoline is, like the rose, the same, no matter what name is .given it. Lady Dufl-Gordon has ventured to call it the bird-cage. I do not want to look over the shoulder of spring to see if summer is visible to the naked eye. And yet there are three photographs before mo —waist to half-length a decided crinoline, silhouette, front view, presenting sides like a triangle, with top out off for the waist. And from the “hem” of this nefarious instrument the rest of the skirt hangs like a lamp-shade, still extending t'll the ankle width would make two tubes of other days, and it may bo throe The dinner dross for matronly years will be a veritable lamp-shade hanging from such a frame, the “edge, ’ as it were, being festooned with a frill, and the waist ornamented with bow loops—the world when Queen Victoria found it fair and full of promise, Petween the tailored and that you can range 20 different related standards. Take one midway—the girl of the period to be, say two months from the moment of writing. I cudgel my brain wondering how to describe this_ particular dross, and there on my mantelpiece is the very thing—the Dresden shepherdess. The petticoat-length skirt is over smart shoes and immaculate stockings, and under a bodice so much the counterpart as to suggest a copy. Sombre materials will bo out of place for this type, and so I note a material which is emphatically floral—not early spring, so please you, but advanced and later. I do not like anticipating so much, and only do so in order to show the trend. Let “Lucille,” of Paris and Now York, have a say, this being advanced enough to suggest not two months ahead, but four. And then as applying to dance dresses t “Effect is gained by contrast. Therefore the now small, lonjv waists have brought in the full, short skirts, while dancing demands that the lines of the figure must still ho shown. Therefore, I make the full skirts transparent to please La Mode, and the inside lining tight to delight the dancers; and really charming it is too. A little lady illustrates this to the last letter; look at her small waist. Her bodice is of brocade

in ivory satin with a design of camellias in scarlet and green, -and her bird-cage is of black silk net strapp’d with bands of grey satin. It is over a tight dress of silver tissue, which is again over black-and-white pantalettes. Her headdress is of black lace, and a red and green flower tucked in ac the back. Then note another fair one, she of die silver wig. Her gown ;s of blue tulle and blue and silver brocaded taffeta and a flowered bodice; and behold! she ;s wearing silver shoes. And yes,—silver stockings. They are excpiisite. My history book tells of the extravagance of Queen Elisabeth, and mentions a pair of silverthread hose brought from Venice. I should imagine them thick and uncomfortable; but the new ones of to-day are half silk (grey) and half silver, and, worn with silver shoos and wig, have the most fairlylike effect.” To what arc wo coming? But why look so far ahead, even for the warning note? Let me reach out and secure an early spring hat of immediate value. It is rather different from the other, yet is by the same hand, and the original was thought, enough of in London to be * accepted as a standard. The shape is called a “ sailor ” —apparently sailors wear all kinds of hats, —the brim being turned at

side and back, But it is the crown that counts, a pretty over-covering, as it were, gathered in front and into arranged shield the other end, and crested with a “frost” of foliage. And from under all this covering, on the brim, is an arrangement of leaves, overlapping as indicated. The little jacket will be a strong feature of the new season. Also it will be a prime favourite with skirts of moderate plainness. To realise its outline —that is, the silhouette —you have got to picture that of the new skirt. This, as before, simulates the bars of a capital “A”, The jacket, then, fits over it like a cap. a kind of super pyramid on a small scale. Get that fixed, and the rest is easy.. I have one before me at this moment. Draw an imaginary lino across the bust, and observe that the above part is sloping on the shoulder, with either flat or military collar. Now the fronts—straight from neck to a low ' dress waistcoat level, l> and there a tab to fasten the two. The conspicuous thing about this little jacket is that it buttons where the waist ought to bo, and high at that, and so to below that imaginary lino, as the garment comes straight down with a slight flare, and the fronts from the tab make an arch to hips, the jacket being rounded at back or brought to a semi-point. Again, excepting, the skirt, what is there below the arch? Simply a simulated waistcoat undone, which means that the sides of this appear like two little angled extensions, the whole effect being most quaint. Of course, not all these little jackets are on precisely the same lines. While the one mentioned arches, another has rounded sides, the me'etihg being above a belt. But they all justify the one title, and a rather irreverent wit has called them monkey-jackets. The coatees may be better imagined by remodelling the illustration. Cut off all below curved lines on bust, and bring these down to below the waist-Jine in truer continuation of the ‘‘V” of neck. Such would bo the edge of the coatee —rounded fronts; but from under arm to hip the line would be straight with a flare, and a belt, or waistcoat points, would just show in front.

But, of course, the design as _ given is simply the upper part of a tunic dress one of the merging kind, winter reaching into spring. I need only describe what you do not see. Then carry the lines down for a tunic, one that stands off the skirt, and bring that panel in front down to a lower depth, so that it “flaps” over the skirt. The result is smart.