IN FASHION’S REALM.

Otago Witness, Issue 3584, 21 November 1922, Page 56

IN FASHION’S REALM.

WEEKRY UP-TO-DATE DRESS NOTES. By Maeguebith. T am going to take advantage of what.l have lead and seen demonstrated in the picture, to say just what the hall-marking notes are. or, failing this, what they seem to be. My immediate verdict is “drape, drapery, draping,’’ but of a peculiar nature. If 1 were in your presence I should ask for a clothes prop —the kind used in the laundry,—and, throwing anything handy over, say. “There.” it is what I might cull gravitating “drape, drapery, and draping,” the kind that: hangs down “plumb,” with plenty of it. Think, if you wilt pardon as much of “ghosts”—the kind used in the like, —garments hanging like sheets or in ends or vvispings; the willow waly drape, the weeping willow, everything down and everything long. Thus the cape and capelet “willow waly”; the sleeves with the cape absent, hang, and sometimes as though in “elegant rags”; the skirt drapings do the same thing; and where the skirt is not as long as it might be the side drape points a finger some inches below to the ground; or maybe bands are brought down from the shoulder fronts, passed under the girdle, and fall like those of the vestments, to inches below, with fringed or headed ends. To the better emphasise all this my drawings this week have been prepared with just as much in mind for the lesson. Start with the sleeve. Anyone with half an eye can complete what is shown —yes, to the full dress. Take the one on the left. We have an elegant dress in a patternless material, and preferably silk. For real downright goodness there will be no better choice than a dark one. The lines of the frock as a whole are straight, and what you see wihite-dotted down the front will tie a line of beads or it may be embroidery.

But the sleeve is the thing. II is as regards the standard a hell, but it is slashed from just below the shoulder, and is shaped at the end. With a lining to differ and the same otherwise employed, a very fine effect is achieved. Now for the one on the right. This is a case of gaining everything by draping Hie shoulder and the skirt, the two drapings being in line, the one dead over the other. The two together provide choices —the long sleeve and the short one. These drapings go far. and I opine that * they will go farther. But make the most of them now, as necessarily when summer is over there will have to be a modification. Here we have the advantage of our sphere in geography- we know what is coming. As the summer advances draping will go on. anil on. till the ultra-fash ion able are practically all drape, with sleeves that are drap-

ings from the shoulders and skirts which are drapings from the shoulders and hips combined. With summer over we shall have the severe interpretation—t lie same ideas, more or less, but carried out with the necessary regard for the change. But, harking back to that long sleeve, you get the hint of as much at once —Summer slashed; autumn, closed or nearly so. No notice of drapings would be complete without some reference to the shoulder mantie drape—the drape at the back which is entirely free, and in the case of evening frocks may easily lie superb, if worn by anyone of matronly years. At the same time, when it comes to age all depends on the amount of it, and the way it is manipulated. This explains it, and in the proverbial nutshell. I have selected an evenin'; frock as the best one for tills illustration. That she cannot be very advanced in years witness her bobbed hair. The charm of tlie dress lies in its simplicity, and the way

this is camouflaged with that shoulder drape and the hangings from the girdle. As regards the dress sitself. a liberty has been taken, meaning with the rules as just laid down—it has been draped in the skirt in festoon fashion, as though looped up to those rosettes. With such tlie foundation a fine shoulder drape of the “mantle” kind is used, and then from the girdle there are two which I should suggest as best in 'beads fairly close to a depth and then lightly for the rest of the distance. With all this talk there is Hie hat. I cannot divest myself of the idea that the broader interpretation of the “dress” is ail the dress, head to foot. Now, there was an attempt made to drape hats. With the season in the dawning many examples were launched showing side hangings—wisps of this and of that, and sometimes an actual veil. But you cannot overdo anything, and so I notice a return to what may he called “distinct” millinery, meaning that the milliner is satisfied * with a trimming more exclusively the hat’s very own. With drapings what they are. the most becoming of all hats is the one that arches over the face and bends down at the sides, and is lightly trimmed, and so with the least regard for any long hanging-over effects. For example, a draped hat with a dress made on these lines would be quite overdoing it. The design shown illustrates one of the prettiest tilings in the way of an arm draping I have So far seen. It looks as though the “sleeve” itself had been simply wound round the arm as a holder for .what

falls from it. And then observe the sides of the dress, and, to complete, take the section in the panel and place it over the other m the position indicated hv the width of the draping. It is indeed a conception, and admirably carried out. You will note how the side starts from under the arm, how it widens, is carried over the girdle, and then cascades lightly to the final point. But suppose tlie arm were down —what then, as, of course, everything would merge? This brings me to a rather important subject. It is summed up in the remark that with many of the modes half the effect is in knowing how to wear them. But trust the sex. With sleeve drapes as indicated milady is deft enough to twist them round the arm or near enough, and artists have seen the possibilities in this by portraying wearers in most taking attitudes with their sleeve drapes personally disposed. If I have harped on this matter a little it is because it is the cardinal note of the hour. 11l connection laces are employed, beautiful embroideries are used, and beads are exploited for all they are worth. Beads are peculiarly adapted to the present designs. They may be used in

either of two ways or in both together. One. is to use them in tlie decorative sense as applied to the material; the other is to use tihem in fringes. But treads are heavy, and so when it comes to fringes one has to he careful. But no matter how used, heads always convey an idea of richness. Again they are alluring. They are actually so. and also historically. All the primitive peoples incline to beads, and we are but the heirs of the past. A nice way to apply beads is on the little cape. I am showing you the “business” part of a charming little frock to prove tus much. Y’ou can easily “fill in” all not shown —a plain but somewhat full skirt

falling in natural folds. The little cape is shown sideways and with tlie arm raised to emphasise the possibilities mentioned. Motifs arc there which are made up of embroidery featuring a good deal of beadwork.