IN FASHION’S REALM.

Otago Witness, Issue 3828, 26 July 1927, Page 67

IN FASHION’S REALM.

UP-TO DATE DRESS NOTES.

By

Marguerite.

Building the hat, as it were, in layers, one on top of another—how did it come about, and who thought of it first? There were, I think, two inspirations. The helmet everyone knows about —pieces like layers and a visor to wear down over the face or raised. I see many hats that suggest that, and I note that there is a growing inclination towards making them more so, the frontal piece having become a feature. But the inspiration for the hat that is in layers, meaning with the crown marked off at even distances, was found. I think, in the mural crown or coronet, that ornament we sometimes see on the “goddess ”, that represents a State. In that case it is marked to suggest a building, stone on stone, the top being like a tower. This marking off in the case of hats is sometimes done by overlapping the material if of the kind to allow of such liberties, or by using ribbon in a way to get the desired result, or by using stitching, or. better, a cord; and touching cord I may say that I note in the overseas fashion papers that it is being used freely for just that purpose, and also incidentally to provide markings with coats. High hats are the hats of the moment, but when the warm weather returns little brims will not have it all .their own way, as many bats which I have seen for that time have brims worth the mentioning, and a brim of that kind means a trimming to go with it. But when it comes to flowers, they are material ones and utterly different from the beautiful French flowers of years-ago. They are, in fact, “odd-looks.” all sorts of liberties being taken w : th Nature.

Here’s- whac I mean by the hat in layers. Straight up, there is still a curve, and the crown is marked off twice, and that gives three layers. And observe the top, that roll over the dome, and the

way the ornament at the side is made. Truly a very charming hat, but with this to note: it conforms to the dress, as much as applying to the shade if one, or shades if two. There are never three, or at least very seldom.

The clarion notes of the coming millinery sound over the radio —smart fabrics if preferred, or supple worked felts, these ingredients being stressed: satin, ribbon, taffeta, Milan straw, horsehair braid, visca crochet, etc. In which connection Dame Fashion mentions tucked crowns, velvet trimmings, and ingenious little pins, and then these shades: black, navy, white, beige, Castilian red etc. To be well hatted is an ever so important matter even now- To be strikingly -well hatted is the supplementary observation for the future. And an item that engages our attention is the buckle. Bands around hats and over them in one way and another may be with that for a feature.

The smart touch it is that sometimes makes the dress and always improves it. Returning to the mention of cord, it may be used crosswise on the jumper, and a rather taking treatment engaging my notice was one where the cord in the front was turned to provide a tab suggestive of the end of a strap; so that with four lines of cor_ds at even distances from the neck down there were four of these tabs, and very pretty was the effect they created. The scalloped edge is, or was, a decidedly smart touch; but I observe in what has come under my notice a leaning towards the half-diamond, so that an edging may suggest a “ saw.’’ A collarless coat of the small kind worn

open is improved with an edging of the kind, when the same will be used to finish the sleeve. As time goes on “ coats off ” will show that the sleeveless arm has returned —the no-sleeve sleeve, as I used to call it, —the coat when donned making the ensemble or compose. And nleatod skirts are so much the thing with tlfe coming modes as to make the plain ones only occasional.

Here you sec what can be done with the half-diamond, the coat displaying it to the full, though whether it should be in contrast to the coat itself is a debatable point. Personally I should have it the same. But I have given it a con-

trasting touch in the sketch by simply “ filling ” in the shading, harmonising it with the double belt. And now, observing the “ blouse ” or bodice, underneath is given the corresponding touch of necessity. I draw attention to the edge of this on the skirt —a decidedly good idea.

Lovely dresses are the rme and not the exception, and time is on the side of making them more lovely still, because when spring comes wc shall have enough in the way of patterns, or if not, then trimmings to make them so. I have before my mental vision for the time to be a charming dress which, with two things removed, is just as plainly made as ever a dress could be, and that means entirely plain. It is in a dark but figured material, and the two things are these: a large contrasting bow and ends set against the round neck to the side front, and a short apron-like surround of transparent material below the usual dividing line between bodice and skirt, this finishing at the side in a second bow identical with the first. There are others, and everything will be in the way they are embellished, an effective treatment for edges and borders being smocking with the divisions on a small scale. I saw a small coat (photo) done so, and with excellent results. I again emphasise the golden rule from now on—fur less than formerly in the way of a change in the design, but everything with the accessories to provide a finish, and the whole turn-out in harmony.

Another hat and with ribbon this time, and all to do the same thing—decorate what many would say could not be decorated at all. There is a certain amount of shaping about it; but there it is, and all for what it is worth. And while those side pieces might mean anything they are still necessary to the scheme.

Dress has become an artistic study—in fact, that is really the new fashion ncte.

The designers appear to have come to th<j end of their tether in providing actually fresh designs, and so it is a case of talk-

ing about the oddments that complete things and dwelling on the point that there are to be no violent contrasts in colours. No matter how extensive the things carried, all must go with the rest, so that when it comes down to things, if we have two dresses we must have two outfits top to toe, if three then three, and if four then four. Yes, taking the last, four hats, four pairs of shoes, four pairs of gloves, and four handbags—in sl’.ort, four everything. The dress artists have made this the slogan for spring, and so it will have to be rcmemered—harmony every time and all the time. •* * * The flower in the “ buttonhole,” or, more strictly, on the shoulder, shoulderfront, or even on the side of the skirt in some way or other will be a conspicuous note, this flower, of course, being a made one, and always having the complexion of the second shade if two or used. It is so much the thing overseas that they even apply it to the topcoat; yes, and even when there is a fur collar. It is the final finish, the touch that completes, the thing that shows that the wearer is keeping in step.

Wonderful are the many different kinds of little coats, some buttoning, others being worn open, and others again being cut to allow of the two things at

once. As in this case, where a tailored little coat is very smartly closed well down and then finished off with the inevitable flower.