IN FASHION’S REALM.

Otago Witness, Issue 3215, 27 October 1915, Page 68

IN FASHION’S REALM.

By Marguf.p.iie

WEEKLY UP-TO-DATE DRESS NOTES.

Spring is beginning to take on something of a summer aspect. Before long the step will be two. Then the aspect will be rather pronounced. The time now with us causes us to glance at grandmother’s portrait. Summer will bring back her modes—those she favoured when young, oniy better. There is a charm in quaintness —a very great charm, —and it seems hard to dissociate from quaintness the idea of past times. Quaintness is of no time and no age, and yet it does have an atmosphere ot old lavender and rose leaves. In a design before me the touch of old fashion and quaintness is especially apparent in a tight bodice with pointed front, reminiscent of the jewelled stomacher of more remote and yet more magn.ficcnt times than even grandmother’s. T here is a suggestion of primness about its straight front effect. The entire costume in rose-coloured net and a deeper tone of rose-coloured silk, with garniture at hem and sleeves of silver embroidery, whisks one back to the days of demure flirtations. In another the quaint charm lies in a large fichu, in a wide ruffled sleeve, and in several broad, full flounces. It is a robe of white filet, daintily embroidered. A third design is a dance dress. The foundation is of the canary-silk beloved by every grandmother. A deep flounce is of white net elaborately embroidered in floral colours, and the curve of the docollctage is distinctly of another time —one characterised by captivating archness and primness. The advanced silhouette is a departure from the “A”—as applying to the skirt—that came in with the early spring. The sides now arc rounded, and the volume is distinctly greater. Taking the front view, from waist to foot is practically a gentle curve, or, with certain materials and for certain occasions, a lamp-shade effect, in that a short crinolinette is used to secure the desired width, from which the skirt hangs nearly straight, though not quite. And these skirts, let mo say, are rather longer than spring ordained—forerunner of the old full length for the matured season. The short waist is another thing to emphasise—the shortness favoured by grandmother for both outdoor dress and indoor. The fichu will distinguish summer dresses to a great extent, with, if the skirt is in flounces, flounced or overhanging shoulder effects, and flounced boll sleeves. Then little bonnets may bo worn with such dresses, these bemg ciitirelv reminiscent of grandmother, tin* first framing the hair to below the ears, whore bows or rosettes will serve to suspend a ribbon passing under the chin. Again, special parasols may complete a costume so thoroughly of a more leisured time —quaint little fancies with fringe. The summer modes must be anticipated gradually. Even with all this wonderful return to the period mentioned there will still be the utility styles—a range that will not alter things so much as the other, simply because of their limitations. In a word, the new silhouette where pronounced will he for delicate confections of a functional character, and where not will compass the_ serviceable frocks, especially when of materials that require a plain development. This comes in well after such an introduction. It is a costume the omitted part of which is easily explained —a skirt with “ A ’’-like contour, with a flounce section, the top of which is edged with the _ frill yon see to such advantage on what is shown.

The developing material is patterned—one of those delicate fabrics which display a tiny rosebud, a spray of leaves, or something suggestive of a fern. Tho underblotiso is plain for the contrast, and car-

rics tho smart, and modish collar. 1 included the head, which is unusual with senddesigns, to show the veil. This is one of several ways the veil may be worn with a hat of the character indicated —carried across, fastened either side, and allowed to flow like a filmy curtain. A dress of this kind will have - a short skirt, though not unduly so. >.iu:£ a blessing to have a pocket! V> e can appreciate it after the past embargo. Tho full skirt was the assured harbinger of this most useful and, indeed, necessary adjunct. And a pocket, too, where you can got at it. Cut I should say two pockets, as the styles that feature this are balanced —one either side. This is hi special reference to tho apron pocket. Tho apron dress is one of the newest modes. Take a white summer sorgo, utility frock, blouse with turned collar, shoulder yoke from Y” on to full sleeve, and the fronts pleated against this as prettily as you like. From under the collar comes a band of black silk, which, following the sides of the “ V ” knots, the continuation from there being to waist. And to conform, the belt is centred in the same way, tho serge, of course, being light. And now comes the new features—a cobbler’s apron of the material with two pockets, of utility value, curved top, and crescent of buttons. A robe of glue gabardine lined with cherry silk and trimmed with red-fringed braid is another example of tho pocket dress. The upper section is a simple cross-over, with the braid to pick out, white overfolding collar. Then the bolt is bordered with the braid, tabs either side, and from these the braid is applied in “A ” form, like tho cords of a hanging hag. And with an object, for the pockets, also outlined with this braid, look for tho moment just like tiny bags suspended from tho waist. A queer French fashion approximating to the present moment is a study in white and black, but my only reason for mentioning it is in case it appears and beguiles you without your quite realising what you are buying. The black, taffeta, comprises part of the blouse section, and part —note —of tho skirt. For the former there are shoulder straps, and the arm is cut well down for the white sleeve. The two fronts come together in a low ‘‘V” below a fashionable white collar, and the waist is finished with a frill. Then tho sleeves have a cuff of this material, a not undesirable effect. But it is the skirt that strikes the extraordinary note —a white upper sect.on waist to yoke line ; and from here the taffeta from a frill, and much gathered; and then drawn .in a bit at tho knee, level with another frill; and then flaring for tho length, and finished off with a frill. Endeavour to picture it, everything very nice except tho white section, upper skirt, the effect of which is to suggest that the other has slipped, revealing a petticoat. That is why I warn you—a charming dress in all white, but emphatically not so in black and white. And now back again, grandmother’s modes. Hero is the possible anticipation, the print being shaved cither side on the skirt to avoid an overwide block. That dainty little coatee is just the kind grandmother wore when a girl, improved, or at least in tho opinion of the designer. The collar is again of the time, and even the cord connection, but the waistcoat is modern, and united for a better result. Do vou like tho flounced skirt? This is of tho

medium type, as some of the will l>e flounced from the yoke. Still, it is never any good overdoing a good thing. The upper flounce is from a scalloped line, and if you like, the material may bo gathered into this, to just the extent revealed by the flounce itself. Then the other flounces come from under in the simple way indicated. A small hat will be worn with a dress of this character, and a small sunshade carried for the ensemble.

A style of dress that is bound to appeal is one with a smooth over-section, blouse part, this coming down in stomacher style and swathing cross-wise on what we may call the skirt yoke. But take the materials first. We shall have a flowered silk, and black velvet piping; also a little blade velvet for four bows. Imagine the stomacher off—then a blouse section Swathed horizontally, with smooth sleeves narrowing to wrist. Now the stomacher on—a section of tho material brought down over the shoulders to the waist level, and then a hip yoke section right round, so that where it departs from the fronts it assumes tho form of a girdle, to which I’ll return after intervening one sentence. The fronts moot well down, tho edges having the piping, and on tho lino that is crossed tho four bows are used, two where the “Y” comes, and two

below. Now to thn back —this section forms a panel which narrows as it descends, then finishes in a round, and this fastens on the girdle part with another bow, though of size. To complete, the "Y,” wh'.ch is naturally deep, is filled with lace, and above this is a lace overfold collar ; and the skirt, being gathered on the hip-yoke line of the stomacher, falls in the usual extended form, with a piped flounce line. I am never quite satisfied with a described dross, for the all-sufficient reason that words are a poor substitute for a drawing. With respect to separates, blouses may to either lacc, or linen, or silk, but all such betray the season more or less in the collar, which oven where it is a case of closing invariably has that fashionable ovorfold. Pretty lace blouses of the kind have shoulder shields, with the fronts gathered into the lino, collars with scalloped edges and a scalloped front closing, with little bows in place of buttons. These bows are additionally stylish when savouring of the true lover’s knot. A material blouse is nice when there is a sharp “Y,” with military ovorfold collar, and the closing in the form of three rounded tabs with buttons, the cull' conforming. These tabbed effects are excellent in linen and all such materials, something being made of stitebery, both to outline and to mark a shoulder shield, and even to provide a tracery down the sleeve. The- utility skirt with same will nine times out of ten make much of the hip-yoke—a plain line, but for preference, one broken for a front and back panel the entire length of the skirt, widened to conform with the silhouette, and with button ornaments near foot. Then the four-scallop hip-yoke is a decidedly attractive variety, one in front, one at back, and one either s : de, each scallop being, as it were, a third of a circle. Such a treatment is enhanced by side pleats—centre and one either side reversed.

Back once mow to grandmother’s fashions, though in this case I cover more ground. The fashionable sunshade completes the fashionable frock, and anyone who knows can tell if it is to-day’s as distinct from yesterday’s. The shapes run from the Japanese to the full dome, though the latter is not nearly so stylish as the one that suggests a toilet basin reversed. The complete illustration shows what I mean at a glance—a beautiful sweep with

horizontal stripes, and scalloped turn. Such a fancy will have a long handle, emphatically plain, and be finished with a bow on this to complexion the lining and tiny bouquet on the top. These striped sunshades are a strong season s note, narrow and broad; but for the beet choice, medium. And the turned edge is out and away the novelty of the hour. Now note the' little bit below'. This shows how the stripe may be used as a concession on tno otherwise plain dome, such appearing on every rib. "Next wo have the dressy parasol in the background—a dome of the past, but with a tain to graduate the point of the stick. This, too, is striped, but only for a section, and then differently. The rest ;s of flowered silk, and finally the border' is a pleasing manipulation complexionmg the stripe, the ribs being finally improved with knobs a little more conspicuous than the usual. Dainty details are always to be observed. To start with, this is the day of the scalloped ednrp ’An export tells you how to make them. Thus.: “If you want your scallops to go round the edge of a coat or skirt, a good method is to out, fit, stitch, and press the garment before cutting them. Now cut a scallop of the size you wish in paper, measure it across, then measure the width of the lower edge of the coat or skirt, and divide this width by the width of the scallop. The reason for this measuring is that if you commence to cut your material without measuring, then very possibly you will find you have only sufficient space at the termination of the garment for a half or a quarter of a scallop; but by measuring you can adapt the width of the scallop to fit in a number of w'holo patterns. A simple method of finishing the scalloped edge of a linen costume or cotton dress is to measure the scallops as just explained, and cut them in the edge of the garment, then cut a strin of material on the cross, and in the shape of the edge to be finished. Place the right side of this strip to the right side of the coat or skirt edge, tack firmly in position, then machine round the scallops very carefully, close up to the edgie. Snip the seam edges at the top, or point, of each scallop; turn material to bring right sides outs.de, but take care not to stretch the edge; well press this then neatly fell or machine the upper edge of the facing down to the inside of the coat or skirt. I spoke the other day of a certain turn on the side of a skirt to simulate a coat, with a cascading edge._ Rereading it, I thought it a bit confusing, and so I have ventured to provide a picture. Now, this was designed by one of the cleverest _of her sex —an English lady, who, starting dress-making some years ago on a comparatively small scale, has now several establishments employing quite 100 hands. And she makes for the elite. You must

endeavour to see the figure, the limb being extended, so that if there were another £in of space you would see the foot. Thos« pleats the' other side are frontal, from the waist down. The extension is decidedly clever, as the material against the pleats is simply turned) in, though with consummate skill, so that the fold resolves, os it

were, out of nothing. Ami then—and this is the charm—the material is brought down, as you sec, to back; and if there wore a back view you -would note that fold in fes-

toon form right across, to repeat what you see the other side. Needless to say, it ■v'ould take a professional hand to carry this out satisfactorily.