IN FASHION'S REALM

Otago Witness, Issue 3403, 4 June 1919, Page 57

IN FASHION'S REALM

WEEKLY UP-TO-DATE DRESS NOTES

By Margtjebith

The season's styles are now about fixed, and the drapery houses are just so many picture galleries—in fact, I often wonder Whether many do not visit them, because the effect on the mind is more or less the (amo. I love the well-arrayed drapery-house, its artistio showroom, its often superblydecorated windows, and I never study such without saying to myself: Those who do this kind of thing are artists, and. must bo; and, what is more, of a rather rare order. The new styles assuredly give them every chance for that part, and with such a wealth of colour dull indeed would be the expert who could not combine such for an attractive 'display. The shades are really wonderful, inducing me to say that if the Allies have not discovered the secret of German dyea it Is because they do not need to —they have discovered something better. Bub I am starting with millinery this time, and in the four sketches have managed to get as many examples, two being hats pure .and simple, in that nothing else is attempted, ana two being sketched in acQewnea, in that they were necessary to oomploto something else. This is a very favoured type of hat just now, though,

of course, the variations of it are without number. Tho shape is square, slightlydomed crown, swathed band, and the brim the feature, because of what it accomplishes. Turned down one side, it is turned

up the other, and in this way has a very smart effect.

As said before, the collar is nine-tenths of the battle with many coats. There is just the indication of a very popular one in the sketch. This collar is very high at the back and very wide on the shoulder, and breaks in to conform with the contour in most charming fashion. Many ordinary coats have collars as large, and as for overcoats the designers seem to have tried what was possible without being ridiculous. Some of the best overcoats have suoh tremendous collars as to give the latter the distinctive attributes of an accessory. As a matter of fact, the collar might m certain circumstances really be one. _ Assuredly all such collars are a dispensation for those who have not much in the way of furs, since, as regards the neck, they take the place of them. I am inclined to think that fringe of the type-that came in with such a rush a little while ago is on the wane. There are indications of this in evening frocks, which probably are the best barometer of all. Fringe is certainly used, and very much of it; but, of course, fringe is not, strictly speaking, a winter selection, but, on the contrary, savours of the -reverse season; hence fringe often gives way to fur which, of course, is more in/ keeping_ with- the times. Fur trimming on evening frocks will be used with increasng favour, skunk, perhaps, leading a procession, the origin of some of which is one of the mysteries we must not attempt to penetrate. Fur, however, needs to be worn with the utmost circumspection. Nothing is more easily overdone, and nothing, in my opinion, looks more grotesque when it is. A little fur is always a great beautifier, and few, indeed, are the evening frocks that do not gain something from its presence. Speaking of evening frocks, an esteemed contemporary writer has this to say of shimmering fabrics: Many will bo made of such tisues, supple gold being for the moment primary favourite; and tunics —or, rather, draperies—of sequin net once more find favour, and, cut on simple lines, this beautiful tissue has very few rivals for evening wear. The decolletage of most gowns is either V-shape or square. Of sleeves there is barely a suggestion. Sometimes a band of ribbon or a few _ strands of jet acting as shoulder straps relieve the bareness of the arms —a mode that suits perfectly those who are plump, but their sisters of thinner tendencies would do well to ignore this fashion and gracefully drape shoulders and arms with a transparent material of some For debutantes the short skirts, made like the petals of _ a flower from some sort of fine net (point ad'esprit for preference), are still very much worn. They are trimmed at intervals with small bouquets of flowers; and with a corresponding shade of ribbon swathed at the waist are ideal wear for dances or evening parties of all sorts. Pale blue and pink is still the combination for girls of 18; maize and mauve another happy band, with ac-cordion-pleated foundations, also finds srreat favour with younger women. _ Over this is draped filmy georgette or chiffon. A charming autumn-winter style is portrayed. The coat section is one of those many semi-Russian variations so highly esteemed that all we demand is the Omission of the name. This, I suppose, is because Russia is no longer in popular favour.

The skirt is simply a straight-up-and-down affair, slit well enough for the panels, in walking, to add to the general effect. A cord-girdle is worn, and for the rest it is simply the hat and furs to indicate a fine winter ohoice.

The wool embroideries are in great favour. However, they want to be good to be as attractive ag most fashion writers say they *ro. Apparently wool embroideries

do not please everyone, as witness this littlo extract: "We hear a good deal from timo to fcimo about shortage of wool, but the fact remains that the most fashionable form of trimming at the moment takes the form either of wool embroidery, or of very quaint borders and edgings of wool crochet or knitting. There is something very incongruous a Bout a smart silk sports coat bordered -with a broad band of ohochet worked in coarso wool to match, and one can hardly imagine that a trimming of this kind can bo generally popular; on the other hand, the Hat embroideries worked in wool have a curious attraction of their own, even when they appear on backgrounds of satin or silk." Wool embroideries are like everything else that owe nine-tenths of their value to the way they are made. They must be by expert hands.

We are in for a jumper season. The jumper is condemned on occasions on the ground that it is untidy. As with everything else, it depends on tho way it i.s made. A well-cut jumper is a very becom ing garment, especially in the case of the young. The newest line is the velvet jumper, and, what is more, velvet with a littlo fur. The latter outlines the collar, raakas the cuffs and finishes the garment by forming tho border of it. Velvet is an ideal material, and with it velveteen. ; for any garment that has the advantage uf folds, such being as they happen to form through looseness and motion together. Velvet and velveteen are rich materials that need little for tho extra embellishment. In fact, bark back to the full figure, and thero you have an ideal design for these exquisite fabrics.

Another on the tight skirt: "A skirt may be so narrow that :t has to be left loose at the foot for room to move. It will bo remembered • that when we were silly enough to wear hobbled skirts, some five or six years ago, they were generally buttoned at the .ront or side, and a few buttons left undone at the foot. It must be for the sake of being different, for there can be no reasonable excuse for it, that the present very tight skirt, or some of them, are apparently being made to button down the back. Apart from everything else in their disfavour, a row of buttons cannot possib|y bo considered oomfortable to sit down upon!" Well, I myself have seen no such skirts. At the same time the edict is for ririrts that come in at the feet, though, let me say, it is often by simulation. A very becoming hat just now is one with a kind of jockey's peak. I have seen quite a number. The crown is the least bit conical, and sometimes more round than not, and the brim a mushroom which is narrow at the back and very wide in front. The effect in profile is just what the sketch reveals. These hats are best in silk —silk

treated just as in a jockey's cap, and that is with a a good deal of artistic, though negligent, gathering. The band may be anything, and in this case it is of fur with a little bunch of fruit at side for a final decoration, and, if desired, the brim embroidered.

A very beautiful dress is of duvetyn with panelled frcnt and back from neck, closing under arms, over a foundation of satin. The neck is round, the sides overlapped, and the sleeve is cuffed in keeping. An exquisite dress is in broadcloth—-bodice, panels from neck and draped to a point, over-skirt of velvet, and the sleeves have Norman ends—i.e., peaked cuffs of the most generous dimensions in the necessary contrast. These draped skirt effects are in great request, as witness a third example—a very onoice costume of silk duvetyn with swathed crossed bodice effect and diagonally cut over skirt merging with the other. In all three cases the skirt is very narrow round tlie ankles, though, as I said before, this is often by the aimulation. Some of the prettiest dresses are the simplest. I saw one the other day jumperlike effect, V with collar, buttoning down side, and skirt from marking off line with panel flanked by pleats. The jumper effect was increased by the way end was braided —in those sea-frond scrolls that seem to begin and end nowhere. And it was still further increased by the pockets on the skirt—patched ones starting at the jumper line and a bit extended. The pocket was really the emphasising feature, the result being most charming, and with such a little effort to achieve it. Another dress that attracted me had a panel from the rounded neck that hung as straight as a nightgown to the hem of the skirt, the dress otherwise conforming to the figure with belt to class the panel and two flounces on skirt. And the neck and belt were heavily embroidered and likewise the cuffs of a close sleeve.

This is a very nice style, what is not shown not requiring to be. The bodice is very artistically designed, and the pockets

are a feature that assists. The hafc Is one of those things that owe their charm to that of the wearer—if she is charming all the rest is.

Volvet is somotimos fundamental in a smart frock when made with a long, lithe

overdress of broadcloth. A tricotine frock may uso velvet, deeply fringed to empanel the collar. A broad-braided panel often puts an iiresistible front on a frock of satin and velveteen. Per>lums*of fur cloth acquired on tho side by a frock of gabardine are a distinguished feature. Angora makes a delightful ending at the throat on a frock of serge. The panelled blouse and narrow skirt make a successful costume for outdoor when beautified with a scarf. The standing collar is one of the smartest ways to baok up a fashionable vest when it combines all the attractive points of the high neck and open throat. In selecting a design for a dress one must give somo attention —if it is a picture —to the artist. There are some artists who can mako anything look well, just as there are others who cannot make anything. Give tho same design to two, one a master of tho ideal and the other rather prosaio, and behold the result —you would never know that it was the same thing. The one artist will draw an impossible figure and clothe it in the way of our dreams to provide one. The other will select some ordinary typo and, by the coarser rendering, vulgariso the whole thing