IN FASHION’S REALM.

Otago Witness, Issue 3556, 9 May 1922, Page 55

IN FASHION’S REALM.

/ WEEKLY UP-TO-DATE DRESS NOTES.'

By

Marguerite.

“The wrap was all white silk, 20,000 threads wide, and every second thread of the weft was silver. And the effect when the weaver turned it over to show was superb—dazzling white with a silver gleam.” This quote is from an account of the weaving of the-’ train for Princess Mary’s wedding dress, and the reason for giving it is the influence which the Princess’s wedding dress, and the bridesmaids’ dresses with it, has had on the fashions. It has been an immense influence, and the chief part of it has relation to the metallic effect. We may take wedding dresses, evening dresses, and then ordinary dresses. At a bound the fashion for gold and silver has come in, and a London paper says it is spreading everywhere. Pre-eminently suitable for the altar, the bride’s gown, and also the bridesmaids’ dresses, and again the pages’ attire are all with a special regard for the wonderful metallic sheen. The bride may wear gold and silver tissue or gold and silver combined, and, whatever the choice, t-ha others will reflect it. For example, if the bride’s gown is gold tissue, the bridesmaids’ frocks of ivory georgette will be embossed with gold roses and finished with sases of gold net, while their gold net veils will be held in place with circlets of blue leaves edged with gold. It was only rialural that the muff-cuff should come. • But in different, forms, meaning from a small muff-cuff of the material up to quite a large one of fur. The illustration gives an idea, of the former —a small muff-cuff in double form, meaning with each cuff complete, and so, as it were, pairing when put together.

The effect, as demonstrated, is. of course, pretty, as it could hardly fail to be; but above all it is comfort-suggesting, and it is with every truth. In the more elaborate forms various little tricks are indulged to ensure a “oneness” with the sleeives .meeting, but it requires fur to do this effectually. The flared sleeve is peculiarly well adapted for a muff effect with a fur cuff. The cuffs come together, and, of course, such being so deep the effect is of a deep muff. The Royal dresses have had an influence on something other than what was previously mentioned. We know what is meant by the straight silhouette. Well, all Princess Mary’s dresses were of this class,

but the majority of them were with a pouched blouse, where the blouse line was possible, or with a pouched effect ovor the hips where not. And so La Mode, dictatress though she is, at once got to work to see how this could be made a new note for all, with the result (according to a London paper) that in practically no time everyone was appearing in a gown or frook that did homage to the decree. But the best evidence of all this is seen in the latest fashion designs. Though too early here, they are still coming to hand, and they show how very rapidly the influence has manifested itself. Very line coats are showing just now. I refer to what in other day 6 we should have called overcoats and later on topcoats—coats that feature a lot of things that are a little different and sometimes a few that are very much so. With all these coats where not bedted the silhouette is the gradually extending one, and the effect is always of fulness. The sleeve is invariably large, and a noteworthy thing is the way it is set, this often being very artistically. Then the collar is a great feature —a large collar, and frequently as much so as the designer has been able to get it. Tweed coats of this kind are a aewere selection, coating coats a better. £>uch are often of rather mannish effect,

and yet not so, as with it all they are always feminine. Incidentally I do not think that the topcoat, is anything like as important as it used to be. Coat-frocks are often both —it depends to some extent on the material; and the coat and skirt seem to render anything more in the way of garments rather superfluous. With which remark I have picked out the very plainest coat-frock I could find. As remarked, it quite depends on what the material is, and there you are. It is essentially plain; in fact" it could not be plainer. But it still has its features, and the prominent ones are th e sleeve and the simulated side belt. And now I come to something of firstclass importance—knitted wear. • The knitted jumper is decidedly old, and yet it comes in many pretty stitches, and ‘again m many pretty styles. And it is sometimes of wool and sometimes of silk. Then the knitted coat is still with a link that has gone, and yet who would deny its charm—a dainty thing with a roll collar or perhaps a long one, and often featuring the stripe. Next we have the knitted skirt, which is new, and the more so where it features some novelty, as one I saw did with a peculiar embellishment 1 cannot well describe in writing. But after this wo have the knitted Cape, and as

regards this it could be mentioned in very large type if such were of any use ts> express its popularity. These capes will

prove a great winter accessory with their pretty stitches and their extra fine collars. But the loudest note must go with the knitted wool frock. They are charming selections. The bodice, perhaps, will have a roll collar and a laced front, and display tassels both on the fronts and to finish the sleeves, and the skirt, perhaps, will show something in the pretty box pleats. But there are so many kinds, and often combining shades, as with a lighter one for the collar and ouffs and a plaited girdle. The stitches are everything possible, and a great deal is made of the stripe. But let us have some illustrations of the fact, one with a coat, the other with a frock. This is one of the hast selections with a coat, though I do not see why the skirt should not be of the same family. It is a selection where the stripe is em-

ployed to every possible advantage. And it is with cleverness, too. The collar-front becomes the more emphasised through the border below, and this and the cuff are no more than the same thing with an extra stripe on the division. We call such garments “sports.” The name has outlived a good deal of its meaning. New that we have launched knitted wear in every direction be very sure that it will be exploited, and more withj the winter of 1923 than with the one at hand. It is for the designer to perfect what he or she has so daringly launched. Consider the possibilities, as one thing suggests another'. With machinery simulating hand embroideries, anything can be done nowadays. Let the designer suggest and it will soon do the rest. And the alleged humorist will have to be forgiven, I suppose, if he speaks of the well-knitted winter girl. Now this is a ease where something must be left, to your imagination. I have indulged in the “solid” to emphasise the contrast. Needless to say, the combination need not be anything like so pronounced. And as for the sleeive, if you do not like a short one, carry it down. The thing to speak about is this —there are two shades, light and not so light, or moderately dark

and darker, express it how you may. And the top of the blouse part is of the more pronounced shade and the skirt from the low hip line down the same, the rest being

in contrast. But the stripe? It is nothing less than the other used as a stripe, and observe that it is with a tabbed-on finish with little buttons. The design grows in value with the study; but then, as I said before, there are many, and all are good.