IN FASHION’S REALM.

Otago Witness, Issue 3212, 6 October 1915, Page 72

IN FASHION’S REALM.

.WEEKLY UP-TO-DATE DRESS NOTES. By MAROOEnrrE. We aro now pretty well settled down to current styles. It is, therefore, a question of diversity as regards treatment. Sometimes this is a bold expression of some tasteful fancy, and sometimes the featuring of some special detail. Treating the season at its maturity, a London writer says: —‘Although draperies are seen and the threepiece and decp-flolmcod dress is ns popular os ever, the single short skirt of much fulness is the most note. Such skirts aro often set into waist, yokes of moderate depth, scalloped or vanclyked at both edges, conveying the effect of a wide Circassian bolt, or are gored to avoid bulkipess, when they are gathered into a straight band, necessitating a sash or belt. A flounce or ruche - round the bottom of the skirt is desirable, and when light weights are in question, a good idea is to have three or more ruches. This latter trimming is often employed with great effect with muslin, both white and coloured, the ruches being of delicately tinted taffetas, or may ho lace. A pretty idea for a full bodice is for the front to bo formed by two scarf-like pieces of material, which cross each other in front, fichu-wise, and pass round the waist, the

ends hanging behind or at one side. A fabric that drapes easily is, of course, required for this, and a well-fitted bodice lining. There is much scope for individuality of taste in the sleeves of the season, almost all of which entirely cover the arm and so makca virtue of necessity in the matter of gloves. The long mousquetaire gloves that we have considered essential for so many years are expensive, and difficult to procure, and so wo may be satisfied in wearing short gloves. The most graceful sleeves for soft or transparent materials fit closely to the arm, and are slightly rucked, ending in full ruffles tied with ribbon at the waist. In many instances they aro transparent from the elbow only, the upper portion being of taffetas, or whatever material forms the principal portion of the dress. A now pattern suitable for cloth or serge, as well as silk, is slightly full above the elbow, where it is gathered into a deep funnelshaped cuff of soft leather stiffened with wire supports like the high collar-bands of yore. This glossy black leather is having rather a vogue, ns has also white doeskin, which is used for more purposes than waistbands, shoes, and gloves. In congruous though it may appear, wo heard of it recently as being employed as a border, or strappings on a white laco dress.” Of course, this doesn’t apply so much here, and yet one never knows. “Something extra for the neck brings up the ostrich feather hoa. But as one cannot always bo provided with

a sufficient variety to suit each costume, it is satisfactory to be able to find a substitute in some charming necklets made of gauged or soft satin edged with marabout. Full ruches of tulle or net have also a charm, and need not be expensive; a dainty little rosette or flower made of silk gives a pretty finish. Another fancy is to end the ruffle with long loops or innumerable streamers of narrow ribbon, picot-edgod for choice. Black tulle ruffles with these ribbon tacsels in white and black satin ribbon are particularly smart, worn, of course, with a suitable dress. It is essential that boas and ruffles should be quite in keeping with both hat and dress.”

The small hat will soon give way to one of more generous proportions, at least, where necessary. With so many.styles it is next door to impossible to particularise, and say this is the thing or that. Nevertheless, the illustration shows a rather smart shape, with its precise round crown and floppy brim. All such hats are worn at the angle indicated, this being indeed half their charm. Ribbons being so much in evidence millinery claims more than an ordinary

share, and so if you had a rear view of this hat you would find that those streamers were pendant from a rosette of loops, more or less in harmony with the floral mount. Touching the latter, flowers are worn in quite original style. Indeed, it is not too much to say that you can sometimes tell whether the hat is what it should be by the way it is adorned. In a case like this a single flower is used in preference to more, and if the ribbon strays the other side of it to suggest having been tied so much the bettor.

With shapes that have a little brim, often like the turn of a petal, a single flower dead in front is considered smart. Then with crowns that have a flatfish turn instead of being round, the brim being anything from ordinary to much, but also flat, nothing is nicer than four closely set blooms, front, back, and sides, these being connected with a trailing stalk. And as they are set on a band they are all the better when in marked contrast. Flowers of the marguerite persuasion, pansies, and the like are ideal selections. I must again emphasise the raked wreath for sailor shapes, this being “thin,” and edging the top of the crown, though not so much as not to allow the top to reveal its line. Tiny rosebuds punctuating a rustic stalk with tiny loaves is as good a selection as any. One very pretty model that caught my eye was further improved with a trellis of ribbon of cord-like width set against the side. The suggrsion was that the little wreath had climbed this pleasing addition. Another shape has the turned side, and I see some examples that feature a cluster of small fruit which rests mainly on the shape, but also slightly on the coiffure. Boater hats with a check band are a slightly different fancy, especially stylish when associated with a veil of tho brim-frill order. And that gets one to an emphatic feature worthy a paragraph of its own. Those veils are both of under-lip length, below-chin, and to shoulder. All are equally smart—it depends on the kind of hat. A veil of the kind may hang as a curtain all round'; or, with the deeper order, cross the hat, side to side, fall over thd brim, and form, ns it Were, a filmy “ground” to the face. Yet, again, such 'a veil may bo caught under a spray of roses, arched across the hat, side to side, and thrown back to cascade against tho neck, roach the shoulder, and gain in fullness as it descends. The art in disposing these veils is not to bo acquired in a moment. For although they have such a froc-and-easy look, it is a case of art disguising }tself. For preference the veil should be of the best quality, and as filmy as possible. Tiny patterns are liked, and in cases those w’th a border. But when it comes to a lingerie dross oominendi me to laoe. and hero, of course, the veil, will bo as elegant ns you please, with a scrolled border. Picture a trim little sailor with satin band, and two side roses suggesting “pins,” and the veil stretched from ‘there to fall over back, as though it had been “thrown” off.

Another thing to mention is that the new veil, viewed from front, assumes a silhouette in keeping with the dress. That is to say it spreads in semi-pyramid form. And sometimes such a veil has a “second cousin" in a corresponding draping from the yoke of the blouse —a decidedly taking idea, but one which needs a picture to make it clear. I don’t know how those veils originated—what suggested them. But they are quite a feature, and one of the most original notes of the season.

The Ame means are undoubtedly improving their adaptations of French modes. As I have often said, Paris sets the standard, London picks and chooses, and New York varies by simplifying. For example, this is an American style, which combines several of the latest ideas and, in my opinion, makes the most of them. Working down the collar is a kind of return; but it is nevertheless very pretty, assisted as it is bv that smart tie. The brace effect is excellent, and, as von see, it conics to a raised extension of the skirt, the line con-

sisting of four scallops, front, back, and sides. Then the belt is military, with envelope flaps to relieve, and the “pockets ' carry on to skirt. The lines of this are clear, and so need no further mention; but, all the same, I should like to draw attention to the silhouette, which is fust what it should be, and the length, which is in the same r< lat:ou. The Am Hearts, pr de themselves on what they call “shirt-waist” styles. This means that you can develop this design cither in a one-tone effect or to express two; but, if the latter, don’t go in for too great a contrast. Incidentally, something about “smocking.” I quote as follows from a very entertaining authority:—“Keen interest was the result when the first smocks with the first smocking appeared not so long ago. This soon turned to fascination, and then to infatuation, and the new style became so popular that women and girls all over the country were making smocks and doing smocking. Tho_ younger generation had not heard of smocking before, but their mothers and grandmothers remembered that when they were little girls, and when their daughters wore little girls, their dresses were frequently trimmed with smocking, and by ransacking old trunks they were even able to produce specimens of their handiwork to prove to the younger ones that the new style which fascinated them was not so unheard-of after all. But the fact that their mothers had done smocking did not explain the popular smock to the younger generation, and their natural curiosity led them to the dictionary and reference books. The first investigations were not particularly satisfactory, as they found some meanings of the word ‘smock’ which seemed to have no relation to the attractive and becoming garments they were wearing for sports and school. They felt that they had accomplished something a little more definite only when they found that the word smock was derived from an old word that meant to creep into, and with the enthusiasm of youth they were quite confident that was the reason that smocks wore slipped on over the head instead of being buttoned down the front.”

Now “smocking” is one of the prettiest embellishments you can go in for. There are two stitches, diamond and honeycomb. The art is to draw the material in to provide a section, square or_ oblong, and to manipulate this by producing a trellis, the diamond having four equal sides for a square, and the honeycomb being elongated for an oblong. The effect is a criss-cross—-and beautiful, but it takes time, and must bo perfectly done. And its use? Well, in blouses a square of such either side just below where you would expect the peak of a turndown collar, makes the garment look twice its value. And the material having been drawn naturally resumes its fullness over the bust. But with dresses you can go much further. For example, you can treat the blouse as said, and then from the waist smock either side of the skirt. At the same time in this case you must vary the shape, a “V” being by far the best, and if you are clever enough you will do well to graduate the sections, making them smaller as you work to the point. I have seen a dress so treated, and I can say that it was exquisite: but —she who did the work is an atriet with her needle. Once more, it is a groat ribbon season. Now what are and what are not fashionable ribbons? It will satisfy mo to deal with the former, and by way of variety with an illustration. Here are two fashionable ribbons, and everything being so clear I think you will be able to “pattern” them unaided. Still, notice the one with the square ornamented border —a ribbon that looks like several joined. It is an ideal millinery variety, and, needless to say, I hope, one

of the best. The other ribbon has a fourlino border well in, and then a floral centre, this being a spray, or, if you prefer it, a rosebud with an intervening leaf. And this ribbon, you may note, is different one side, though not to any marked ch gree. Such

is good for millinery, and with a good width for sashes, especially in the case of a lingerie dress.

Collars get better, and better and better. And yet not so—because they could not be better. Somehow this seems a bit involved, but I think you can understand me. There are two collars before any —that is to say, the collar of the blouse, and then the collar of the inset, dickey, or vest. And with these standards there are a dozen and one expressions, and all are commendable. By far the prettiest for youth is the one with a “ V” that exposes the throat to its full width. It turns like a lily, bending over, though not sharply, and for preference to a depth not great enough to hide the closeness underneath. This collar may be with blouse or coat, part and parcel thereof, plain, though of different complexion; or it may be of a dickey or vest, when a nice idea is to have a stripe. Such, perhaps, will be worn with one of those smart little coatees they, call the “monkey”; and with respect to this commend me to the one that buttons on a diamond, and then cuts away, to reveal a vest extension broken with a bolt. But the “monkey” coat may not button at all, hanging straight with a hiatus for an inset connection, this continuing the shape and of a stripe in chevron style—extended “V’s.” The collar in this case will belong to coat, but the turn is embellished with the stripe and therefore made to convey the idea that it comes from the inset. One of the most fashionable collars, suited to maturer years, is associated with a dickey. This may button up high, or with slight “ V,” the collar itself bending out, though not actually over. These dickeys fill frontal openings which are sometimes a deep “V,” but more often in rounded form, deep or shallow, as preferred. And in instances, where the depth occurs, the blouse resolves itself into shoulder sections, and the sleeve is in relation to the dickey. Such collars are excellent in plain linen or something as simple, sleeves the samt\ and the dress in contrast, but it will always be a plain selection. But not everyone favours those upstanding, outstanding, and overstanding collars. I endeavour to meet all tastes. For those who are thinking of a blouse with a flat coliar treatment, what of this for a change from what we have been accustomed to? The blouse itself is simplicity itself, but to atone for that you have these shaped revets

in contrast with, stud buttons for the adornment, and same for the closing. The launching out is in the inset, which is reasonably gay, and this as you see. A blouse of this character may bo what you choose to make it —simple enough for house wear or good enough for almost anything. I make a point of featuring Raglan lines for the all-sufficient reason I think they are out and out the best. Some of the prettiest visiting’ dresses are patterned. Take a flowered silk crepe and glace. The blouse has shoulder sections—that is to say, from narrow shoulder width to provide for “Y” inset and sleeves of the glace;' and the skirt is of the modish contour, short, but with upstanding frill of the glace on a flounce line. And this frill is employed to border the blouse, all edges. The inset reduces the “V” to the extent desired, and has a generous bent-over collar, and the sleeves, of same are free, with a bishop pouched into a shaped cuff with frill. Finally, a swathed sash of plain variety, and, if you can picture as much, there you arc. But this stylishly-dressea maiden requires dainty shoes, and, to crown all, a satin sailor hat with a spray of rosebuds sot on one side of brim to front, and a lace veil drawn over it, side to side, Einned, and allowed to fall in a cascade to olow shoulder.