THE MASCOT AGE.

Putaruru Press, Volume V, Issue 177, 24 March 1927, Page 2

THE MASCOT AGE.

LAEST NOVELTIES. By CLEMENCE KERR. No one is too old to get bitten with the mascot craze. The mascot age is ageless. Nowadays one finds mascots cverwhere, the air-plane, motor-car, the tea table, and, chief of all haunts perhaps, the modern dressing-table, where the girl of to-day poses her mascots like so many 11 scalps. ’ ’ The doll mascots of the present day are many of them things of groat beauty. There is the famous Italian princess of the middle ages, a gorgeous doll clad in wonderful Italian embroideries with bunches of the tiny, gailvcolourcd Italian flowers at her waist and in her hair. One meets her replica in many places abroad, Paris, Venice and so on. This autumn she has come to London—a veritable queen among mascots. Then there are th e tiny, impertinent feather-clad dolls with rolling eyes and elongated legs that arc just large enough to put in tlic window at the back of the motor-car. The faces of these dolls are most delicately painted and the feathered frocks arc in all the new lovely shadings. The latest mascots are mainly divided into three classes, blondes, brunettes, and all kinds of oddities based on Zoo inhabitants. A Spanish senorita clad in crimson and orange complete with black lace mantilla and high comb —wide silken skirts form a decorative cover as the doll reclines gracefully on the top of a boudoir vanitv case. For the woman who wishes to contrive these fashionable conceits for herself there aro painted masks of faces, beautiful or grotesque, with silken hair in bright colours. The body part is easily fashioned, and the long legs are merely narrow bands stuffed with wadding and shaped. Dressed in fanciful clothes—gaily coloured cloth is a favourite material—silks and laces, they make attractive gifts. The French pierrot, illustrated, is a study in black and crimson, the diamond marking outlined in silver braid, and is a typical example of the doll mascot. Originality is one of the great attractions of the dolls, whose home is in the motor-car, drawing-room, boudoir, or smart show-rooms, rather than the nursery.