IN FASHION'S REALM.

Otago Witness, Issue 3443, 9 March 1920, Page 57

IN FASHION'S REALM.

WEEKLY UP-TO-DATE DRESS NOTES By MAHCt'ETtITR We must not expect cheap goods this winter. Every advice is to the effect that prices are advancing steadily. Such being the case, it behoves us to" ply needle and thread as never before. By stitches in time •we may save nine, - and such will cometimes be guineas. This imposes a duty on the fashion writer. It is to choose just those styles when it comes to the illustration which the average home-worker can make fo.r herself. But with a compromise less economy leads to dowdiness. It so happens that it is frequently the case that what appears to be more or less elaborate schemes in dress as pictured are quite easy to make at home, and are, in fact; all the easier because a little smartness sometimes serves to disguise defects in the making. Thare is this to be said: while everything , can be as plain as can be in the contour. .As, previously explained, the voluminous skirt is steadily coming into its own again, even though so far the safest thing is to simulate what Dame Fashion is certain to insist on a little later. It may be done in a whole variety of ways—first with the tunic and then, if this is not desired, with the panier or panier effect. The moment we depart from the tunio the best choice will be in a result achieved either through an elaborate hip draping or by means of the "pocket." But "pocket," be it observed, is mentioned with discretion, as many of the "pockets" employed-for no other purpose than to extend the skirt are not pockets at all. Perhxps the prettiest of all effects where the tunic is discarded is achieved by semipanier drapings. These will be found,_ on examination, to be no more than gatherings of the fulness artfully and artistically festooned in one form and another to _ give n bunched-out volume to tho skirt as viewed from the front. As I proceed ■ I shall be able to demonstrate this more clearly. As regards special needlework on . costumes which otherwise were: too plain, the varieties under the heading "stitcheries" are quite numerous; and it is a sign of the times, perhaps, .that one is' no longer arrested by that class of work that makes one wonder how human hands wrought it, but, as a rule, by what has an effect. This is where wool embroidery comes in, and is perhaps the chief reason why it prevails after. the first excitement, and is likely to do this for dome considerable time. All .things considered, the collar is not. the feature it used to bo either with coats or costumes or, againj with blouses. The hall-marking notes are in the more voluminous skirt, and in the sleeve. As for millinery, it is a little early to be over r oinionative. And I think I may say that oractically all our autumn millinery will be simole, with the main idea to reconcile it to the choice of dress. I revert to what I said of the gathered fulness. This will serve to explain _ what I meant by one reference. The design is from a Paris studio, and being so simple will at once commend itself. Practically speaking, the "hip" is caught in three

folds, and the 'ioops have just the effect thab wiH be understood from the words—as though broken away. There is something very quaint in this treatment, but dismiss any idea of originality. It was one of the tricks in the days of the crinoline with the skirts that would admit of it, particularly those of semi-evening character. / ! Since- I last wrote a further cable has been transmitted to the effect that the revival of the crinoline is certain. It induces me to remark that when the crinoline

last flourished, which was when they wore chignons, and refused on partaking ot butter to allow it to melt in their mouths, tho hideous balloon-like frame ran in conjunction with none at all. Thus, while the crinoline was everywhere in outdoor dress it so happened that the favoured style for evening was the flowing close robe with the baby bodice, all this being an expression of the Greek. You will, in fact, find all this on record in the novels of _the period—in the illustrations thereto, the best of all being Thackeray and Dickens. I have remarked that the collar will not be the feature it used to be; but let me make an exception in the case of overcoats, greatcoats, witter coats, or whatever name they are likely to go by. I have seen quite a number of advance models with oollai-3 so immense as to be equal in what they displace to half the complete garment. One in narticular attracted me, the collar of which, had it been turned up, would have covered the head and overlapped. As it was, it turned from the level, of the.ear in a huge fold that covered the shoulders completely and then descended to midway between the ordinary sleeve seam and the elbow. It may be confessed at once _ that it was hideous, but there is the position— Dame Fashion does not care whether our opinion is favourable or not. She says, "Take it or leave it," and experience shows that we rarely leave it. • You will remember seeing a cable the other day announcing the appearance in Paris of the. Turkish trouser. It is not always safe to go by these heralding notes which, being written by men,- are liable to convey a man' 1 ? error of judgment, iin srjeaking of the Turkish trouser, perhaps this is what was meant. I chose it partly to explain as much, and then because; I considered it a pretty style with the skirt altered to end in the orthodox way—a

detail which can be arranged by the mere ©ye glance. This Turkish trouser effeotis, as you will see at once, merely a turning under of the skirt "as : a whole, a pretty enough idea in its way, though without what I should require ere adopting ifc—an explanation as to how walking is possible without the action of the exercise disfiguring the dress. Returning to millinery, here are some abbreviated selections from another: —''The day of the flimsy confection has passed, and the millinery produced by the first atelliers is certainly of the substantial edifice order, profusely bedecked with plumes and caught with buckles, and slides and ornamental pins. As even the most conceited head can only carry a limited load of- finery, certain loom wizardry has produced fairly fairyweight fabrics that belie their looks. Velvet is supple, soft, and as sheer as silk, and a metalled cloth can. be run through a finger ring. The built-up turban, contrived rather wonderfully from ribbon, will be seen with a huge pheasant tail and head, or maybe a paradise plume toning with the material. There is an alternative vogue—the Dulbend —a genuine Turkieh swathe;

such a snug, well-fitting' hatlet that does not rely on anything extraneous for the complete effect of a quaint charm. Other period notions evolved for a million wearers include the Banditti—ltalian, as its name suggests, and really quite a dashing scrap of colour in good thick silk cut as a bandanna and arranged over a crown, the ears tied behind in genuine Carmen fashion. The toreador is a polite note from Spain, and bound to he hearkened at, as it is small, well balanced, and being built of silk beaver, possesses just that chic which is essential to its well-being. Whole turbans of real ostrich, drenched, glycermed, or curled, are to the fore with wear with the tailor-made, and those who possess good peltry and can afford it will have a turban of •"their favourite fur," leaving beauty unadorned as being adorned the most.' I again refer back "to the skirt because of those thumb-nail notings on the gathers. This has some affinity'to the first selection, and yet is in a class by itself. The blouse section being included, it will at once become apparent just how far any such treat-

ment extends the skirt. As before, three gatherings are there,: but they are downwards, and framed, as it were, with a very artistic festooning' of the material in the form of the fold. I again borrow on ribbons: —"For the everyday woman, with the everyday spending allowance, however, utility with smartness is the safest, and 'herein, ribbon 'is the jchoice without a doubt. The ribbons of to-day are beautiful": and Wonderful, and a ribbon turban chosen with' an eye to special needs, and not too great a parsimony, is a >mart asset. The ribbon conceit shown herewith evidences novel ribbon treatment, which is fully successful. There are devious ways, of 'course, of reaching good ribbon millinery, and. not a few designers have resorted, to. Jth'e. fringed effect, delightful in itself, but hot for the woman who can afford maybe only one or two hats in the season. Looped ribbon set in layers gives a (-hie change, and then there is ac-cordeon-pleated ribbon .arranged in close rows, a.nd finished with a straw brim lying quite close to the- face. Smart colours are nasturtium. bronze..nade, orange, flamingo red, and Scotch thistle purple." Oncn more I have reminder that the tunic is a very convenient means _of conveying- volume without actually giving it. But I have not drawn this to express as much as already covered in a picture, but to emphasise the very pretty results to be achieved by judicious; shaping. The pointed tunic will always commend itself because

of what it allows of in vhe way of cascading folds. But not all pointings are front and back. Seme tunics are sometimes side ones with just as excellent a result, or they may bo in fours, and so on. For myself I always prefer a shaping that is regular, by which I mean one that is the same one side as the other, rather than two different things. There is this to be said of all tunics that have pointed effects. They may be embellished with easy and very great advantage. Left plain., they may_ be made the excuse for a motif, and this is just what the picture tends itself to before anything. Or they may bo bordered with a line of braid, or with two lines, or even three. Finally, if the dress as a whole will permit of it, the edging may be of a different material, always provided that it eerves the purpose of providing a border.