IN FASHION'S REALM.

Otago Witness, Issue 3400, 14 May 1919, Page 57

IN FASHION'S REALM.

WEEKLY UP-TO-DATE DRESS NOTES By MARGTTEBIT& The autumn styles are distinguished for the practical. They have grace and attractiveness, and yet conform with the times. The t autumn styles represent _ a natural evolution. The figure line remains straight, the waist line is easy, the effect at the ankle narrow. _ This is not eaying that the autumn skirt is _ over-narrow at the hem, but it does —that it is narrower than during the preceding The average width for the autumn skirt is from a yard and three-quarters to two yards, with some something less. Do not imagine that the hobble skirt is going to return. It is taboo. The shoulder line is always important. The autumn one is slightly drooped, with a certain looseness below the arms. Certain materials permit of the Magyar sleeve, ever one of the prettiest. At the same time there is no liking for the sloppiness of effeot of some seasons ago. Loose though the styles, they still evidence a certain fit.

I borrow from the authoritative London

word: " Autumn coats and skirts vary little from those to which late styles accustomed us. All are cut to produce the straight figure. Many coats are double-breasted, without belt. This plain coat worn above a simple gathered sikrt, measuring about two yards at the hem, is the most popular type of suit. Autumn costumes show coats in sacque shape, with a belt drawing in the fulness at their waist. Even then the basque of the coat is not allowed to flare over the hips, but bangs straight. Many autumn suits are fur-trimmed. In this case the collar is very large, spreading out over the shoulders, and usually made adjustable, so that it can be rolled up if desired. The new collar when fastened shows the points of the collar falling away from each other over the breast, and it is this type, which is likely to be most fashionable. Many furs are used to fashion these coat collars, but once again there is a great deal of specially-prepared rabbitskin being used, notably a soft grey shade. Moles Kin is another fashionable pelt, besides squirrel and black coney seal. Many costumes show coats of throe-quarter length." Large collars prevail even with blouses. They are dressy, and afford so many opportunities for adornment. The blouse herewith is a good example of the autumn favourite, and the collar is what you see. A collar like this is elegant when as plain as drawn, and at the same time lends itself to a certain amount of decoration. An

alternative collar is shown in the panel. This, too, is a very pretty such collars that admit of the addition of fringe. If used this finishes off the extended piece that is " buttoned." I return to the authoritative London note: " The simplicity of autumn frocks will endear them to those who make their own things. Straight ; dainty little styles, with very little work in their construction, but a good deal of charm in their appearance, they are prettier than ever. Among the most attractive are. ranked those fitted with a tunic. This ever-popular vogue is pleasing when the tunic is worn above a narrow underskirt. A straight, _ narrow silhouette is adapted to expression in velveteen. For such reason many charming frocks are carried out in this serviceable material.' Touches of fur and a pretty collar, with, perhaps, a hint %f hand-em-broidery, are all they need as trimming, for they rely chiefly on . simplicity of line and the material itself for their attractiveness. Some of the autumn frocks for indoor wear, made of soft materials, such as foulard and crepe de chine, are with draped skirts recalling the pegtop styles of several years ago. The drapery is very simple and easy to acquire. It is always -graceful, and frequently serves to emphasise the narrow effect of the skirt hem." , Which mention of the material causes me to say that this is the hour when you want to bear in mind velvets and velveteenssilk velvets,, for instance, as in mastic, brown, purple, nattier, and putty, and velveteens of chiffon finish in all the desirable shades, as navy, brown, saxe, black, and grey. I always give preference to velvets and velveteens as a matter of habit. There are plenty of other most desirable materials —tweeds in all kinds of patterns, and adorable ones In the various shades of grey and cheviots, an adorable material for sports and country suits. These cheviots seem to have explored the dye vats —navy, fawn, beaver, tabac, the greys, mole, burgundy, sapphire, bottle-green, any other shade you choose to add. Then there are the serges—ever a safe choice, — gaberdine, and so forth. _ Finally, there-are the heavier weights in silk, and after them the inexhaustible array of what is possible in cottons.

The use of two materials is as popular as ever. The simpler the method of combining.

them the bettor. Here, for example. Is a pretty enough autumn dress in Which two materials are united with the maximum

effect. That apron-like extension serves a variety of purposes. It gives letigth and balance, and is essential to identify the two sections. The collar complexions the skirt, and the belt does likewise. Incidentally, the hat is worth a line —a popular style that is really an evolution from the "top." The autumn colours are as varied as the shades of the chameleon. The legend is that it is never-the same two hours running. Touching colours and suitability, I have been struck with some rather wise remarks by an expert on such matters: "No one need wear an unbecoming colour, and with a little trouble almost everyone can discover the colour in which she looks her best. Don't take it for granted that, because you are fair, blue is certain to suit you. It certainly intensifies the tint of blue eyes; but if too light it makes a pale skin look more colourless, and a sallow skin faded. Palo blue may be worn successfully by the possessor of dark hair and eyes; but she should be very careful with dark blue, which will only prove becoming if her complexion tones are bright and fresh. Royal blue, once considered so trying, is really very wearable by both fair and dark if the complexion be good. Pink and all shades of red are sacred to the brunette, provided she has not a florid complexion; but the blonde may also venture on the faint shellpink or blush-pink blouse, especially for evening wear. Poppy and such brilliant reds are for the young ; but soft Indian red may be worn by the matron whose skin is still creamy of hue. Yellow is particularly becoming to the brunette for evening wear."

Very warm colourings will be worn this autumn, and therefore right through the winter. The reds include a beautiful shade that is quite coppery in effect. The browns run the complete range with much made of what we call nigger-brown. Not everyone would agree that blue can be warm. Strictly speaking, it is a cold colouring. At the same time a certain French blue has at least a warm suggestion. The preferable colour when fur is employed is one that will set this off to advantage.

The long sandwich tunic, as I see many persist in calling it, is in full demand. At the same time it has been my experience that whenever a mode is much sought after it soon wanes. The illustration gives the current standard, the length being indicated

in the panel. This style is graceful and in every way commendable. At the same time, it does not suit all. It is what an artist would call a bold design, meaning, of course, pronounced. Touching hats, it is ■ written _ that the autumn models are chiefly noticeable for their high crowns and scanty trimming. As usual, the velour claims place for autumn wear, and these useful hats have never been more attractive or fashionable. Colours are rich and beautiful, a warm shade of copper red bright emerald being attractive. Blue, in a' bright and vivid tone, is another favourite colour. Many of these velour hats are made with high orowns, but ore so soft that they may be crushed to any shape at will. Velvet hats in the ever-popular Napoleonic shape are worn a good deal. They are often completed with big jet cabochons or pompons. Little black turbans made of velvet, peau-de-soie, or satin, will be found very useful to wear with the big coat, and these simple hats are scarcely ever trimmed, but completed with large hat-pins, which, when correctly worn; can be smarter than any other form of trimming. A couple of big hat-pins fixed in Just the right spot lend the simplest hat an air of distinction."

When the last English mail left, London and Paris together were devoted to needlework of an advanced character, the idea presumably was not to lose in peace what had come back through war. There was a time when fine needlework was to all intents and purposes part of every girl's education; when not to be able to do anything of this kind was to be outclassed. The needlework just now is wool-work—that is. for us; wool embroideries, about which 1 have several times already written. These wool embroideries are, if well done., very beautiful, and, properly applied, add greatly to the value of the dress. You will recall the words —wool embroideries whereby some means or other the wool is given the effect of a delicate fur.

What do you think of. this design? It may interest you to know that it was the artist's idea of how' to portray a Hindoo idol in this form. When you come to look at it, it in n little bit reminiscent of such. The value of the design, however, lies in its application. Return to the third design, and, picturing that tunic in the square impose this for the decoration. Manv of

the long tunics are greatly assisted in this way. To some the quite plain ones seem a bit monotonous. Decorated, and they at onco lose this suggestion. An annexed item: "The scarf has. come into fashion, and as an alternative' to fuxs ia an economical innovation. The new scarves are warm and light in weight, and they arc made in all sorts of delightful colourings and in tjhe most effective stripes. Some are even wide and long enough to be wound round the shoulders and crossed under the arms in old-fashioned style.

Some of the new furs aro made in scarf fashion to wrap over the shoulder with lonß ends which cross in front, pass under tho arms, and tie or button at tho back. This notion suggests a means of utilising an old fur coat or of renovating furs.