IN FASHION’S REALM.

Otago Witness, Issue 3489, 25 January 1921, Page 57

IN FASHION’S REALM.

WEEKLY UPTO-D4TE DRESS NOTES.

Br

Marguerite.

There is always a period in a season when it is a case of marking time. It is the period when, with, little more to say of the current modes, it is still too early to speak of the coming ones, and it becomes necessary to go over gome of the old ground, to share again at the same display, and to note once again some of the same attractions. In this snirit there is the extra

ciinuns, in whs spirit mere is me extra word on the tunic blouse. Admitting that this is out and away one of the prettiest modes ever launched, there is still the remark that it is a young girl’s garment before anything, that it suits the slender rather than the stout, and that it is seen at its best when treated in a sports sense — that is, to convey the sports idea. As a matter of fact the tennis girl shows it off to the finest advantage, as it suggests play as well as comfort, and the negligent

as well as the dainty. For which reason here is yet another sketch of it with the body posed to convey some idea of action. The tunic blouse, viewed with the frock, is never better than when featuring two entirely plain materials—each a single shade and the two shades harmonising. The design is in clear outline to enable as much to be explained. Thus the sailor collar to the line dividing the lower revers, the cuffs and the belt-border would be in a lighter shade than the rest, and perhaps the scarf would be better of the same than with a pattern. But suppose we provide something extra for a dressier effect, and take that collar and the cuffs and belt-border as the ground for some embroidery. Or if a pattern is really desired then all in such and the scarf, too, would meet the demand in the best way. I was looking over some old catalogues, and yet not so old either—old enough to show the long skirt and also, perhaps, to have known better. To realise how hideous the long skirt was take my advice and refer to just such a record. The pictures, acceptable enough at the time, will fairly repel you. It is this, no doubt, that is making the task of those who would return to those old styles more or less impossible. The sweeping skirt, long enough to quite cover the shoes, save for a glimpse in walking, looks as though it had been made for someone else ever so much taller, or as though it were slipping off. Believe me.

there will be no return to the long skirt in our time, any more than to the wasp waist. We have come to drees exactly as our pastors and masters told us we would—in skirts that do not act- as brooms and in blouses than conform to the natural figure. I can add to my full figure season’s group with a decidedly novel design, and here it is. The design, while being very modish, is_ reminiscent of that past when Dolly Yarden delighted all her enemies with the shape of her polonaise, or again when those of higher rank affected the Dresden China shepherdess and sometimes the milkmaid.

who is alleged to have said that her face was a fortune and that anyone who wanted one in the bank, too, had better look elsewhere. You will understand that the border so freely used is a frilling—narrow on the bodice, not so narrow where used on the skirt and again around the neck. I was looking at some of the fabric bags, the assortment being unusually good. One was with a circling top, which was clearly a frame studded with beads, and it was rather deep, one material being used to about half and another as though to extend it, with a fringe, cords to finish. A prettier style still was a bag that was square, or it would have been so had the top not been drawn in. This was embroidered, and a feature was a chain of ribbon and cord—the ribbon doubled for one link, the cord drooped for another. Finally from where it caught the bag there hung two tassels—simply twisted ribbon with little fluffy balls attached. A third bag was rather peculiar, and yet quite choice. The bag itself was a flat pouch, but the sides had two shields which, rising above the top, formed the opening and closing; and these shields were exquisitely monogrammed. For something quit© different I saw a bag file other dav on which the maker had mounted a silk-like bark in all its native roughness, and on this was a magpie which I could see was not painted, but cut out and patched. It was as qauint a thing as you would find in a day’s march. If you study some of the details of present day dress with the designs prevailing just before the war you will notice many economics. I must confess that it only came home to me personally the other day, when turning over some discarded etceteras I was struck with the trouble they must have entailed ; and when the time was with us I never gave this a thought. Not a doubt of it much in the way of detail just now is to suggest rather than anything else the effect being all that one should desire, but very little scanning as though under a magnifying glass. This, of course, is a result of the war—it has compelled designers to achieve equally good results at less cost of time. And if 1 do not say at less cost of money in addition, it is because all proportion has been lost. Here is a case in point. Getting away from the eternal tunic we have a kind of bolero, but observe what may be clone by double banding the skirt just below _ it, gathering the material between, and finishing off with side ribbons. The round neck

to the extent of the side fronts is bordered in keeping, and then two lines of stud-like buttons are used to redeem the little garment from any suggestion of ultra-plainness. The design has further value in that it is a departure from the ordinary, and variety is the spice of life. Three things that should always be in mind just now —neckwear, veilings, and handkerchiefs. When it comes to neckwear, we have all the old lines as regards ‘‘department,” and then no end of extensions through fashion having found fresh opportunities on which to specialise, as. for instance, motoring. The ordinary neckwear consists of very beautiful collars, and also, on occasion, cuffs. The present blouse styles lend themselves to the donning of the separate-made collar of elegant pattern, as one, say, of ivory net trimmed with la.ee, or again ivory georgette treated in the same way. The moment you get away from the utility range, then there are scarfs—striped silk motor scarfs for one line, and ninon evening scarfs with self-coloured striped borders for another. Anri one might speak indefinitely of ties. With respect to veilings, there are the square variety in open mesh with border of embossed silk net, the same again with chenille border, and the same again with a slightly beaded border. The meshes are square, hexagon, and fancy, and the sizes just what may be desired. Coming to handkerchiefs, there are the sensible linen kinds and the muslins—the linen hemstitched (and note the latest is the narrowest possible border), and the muslin likewise, the former being embroidered on occasions, and the latter nearly always. This is another commendable departure from the ordinary. While there is a suggestion of the tunic, it is only because the scalloped yoke line on the skirt provides it. And, of course, it is further assisted by

the fact that I have indicated a different material for the balance. The deep, circling collar is emphatically pretty, and quite in harmony, and as there is a double effect as much is repeated with the cuff. You will note that the border lines are ticked. It is to indicate an edging with that effect. The design is suitable for the more sedate ages, even though good for all—in reason.