HER LADYSHIP

Southland Times, Issue 18927, 28 April 1923, Page 14

HER LADYSHIP

THE CHIGNON NET CARLY VICTORIAN' FASHION REVIVED LONDON, February 28. Since so much of to-day's and to-mor-row’s fashions are borrowed from long past yesterdays, it is not surprising to find that the Early Victorian hair net is being reintroduced. Like so many other revived modes, the wp-to-date “chignon net” appears as elaborate affair when compared with its forerunner. For wearing with a chignon coiffure arranged in the middle of the hear are fascinating nets made of fine silver wire threaded with pearl, red coral, and jade beads. The girl who has decided to let her "bobbed” hair grow long can slip her locks into a bolster-shaped net of gold and silver thread, which, in the form of a semi-circle, wraps the lower part of the head and reaches from ear to ear. An “amusing" net of silver thread had a fringe of pearls which hung on the wearer’s neck. Narrow strips of coloured ostrich feathers bind chignon nets of gold filigree. Sometimes a brilliantly coloured tassel made of long silk threads is attached to these quaint hair nets, which are intended for evening wear. The modern girl is also realising the utility of the hair net for motoring and sports wear. In the former case it keeps the hair quite tidy without the addition of a veil, and in the latter it has the same effect when no hat is worn, and many girls find it more comfortable than the popular “headache” band. After a champoo the hair is apt to become unruly and it is an excellent idea to wear a hair net for a day or two until the rebellious locks are more amenable. When dressing hurriedly for theatre or some other evening function it will be found that the putting on of a hair net. a simple and quickly achieved matter, will give the coiffure a becoming and neat appearance. The two most popular shapes in which hair nets are obtainable are known as fringe nets and cap nets. The latter fits on like a cap over the whole coiffure, the former is triangular in shape and amply large, to cover the front of the hair and a moderately high chignon. Keep in place by a few invisible hairpins these nets, if carefully arranged, are unnoticeable, and no not give a studied look but endow a woman with that well-groomed air that is so attractive. VARYING THE NECKLINE. The bateau line is still seen on smart gowns, but with the exception of evening gowns it no longer stretches from shoulder to shoulder; in its newest version it comes just below the base of the neck and the back of the gown folds over the shoulder seam well towards the front. Collarless frocks are exhibited by all best dressmakers. In consequence of the widely adopted cross over bodice the V-shaped neck has returned to fashion. The square neckline, voted for some time past as dowdy, returns again made attractive by the ingenuity of the modern dressmaker, who cuts it away so that it begins just near the shoulders and then fills in the inner edges with a soft frilling or embroidery; or she takes it right up to the baee of the neck. Young and old wear a round neck on their frocks and soften it by the addition of a circular pleating or lingerie collar or by a berthe which may be as deep as their courage permits them to wear it. Popular fancy has definitely retained the round neck which fits close up to the throat, finishing there abruptly without trimming. It is not always becoming. While the neckline has been raised in front, it has in many instances been dropped at the back. A novel finish to a gown shows a deep ecallop continued from the neck down the front. The effect justifies it being called the “cottage loaf’ line. A quaint finish to a gown is a gipsy's necktie, arranged on a round neck and knotted simply in front. THE NEW LINGERIE. SOME NOTES FROM AMERICA. NEW YORK, February 28. No more exquisite lingerie ever has been produced than that which the current season is sponsoring. Year after year these articles of apparel, once neglected by designers of clothes, have been becoming more and more intricate in detail. Each new season, we imagine that we see the culmination of these efforts, but invariably the following season brings forth still more lovely things. The reason for this is apparent. Many

of the greatest dressmakers have turned their thoughts toward the designing and making of under garments and are devoting no small proportion of their time to the creation of beautiful lingerie. The wealth of ideas, the fineness of workmanship and the daintiness of trimming are combined with materials of the sheerest texture. Never were silks lovelier, never were linens and laces more beautiful and never were embroideries, tucks and pleats more deftly placed. It was quite essential for the dressmaker to have turned to underwear, inasmuch as the lines of these garments must adhere closely to those of the dress. As each new type of dress is evolved the designed at the same time creates suitable lingerie to accompany it. This special attention given to the type of silhouette of the outer garment oftentimes prevents a dress from losing much of its grace and charm by having the fullness of the under garment appear in the wrong place. The vogue for pleating is reflected in straightline slips. Whether they be of tine white linen, silk or some of the more perishable materials, it is considered smart to have them either solidly pleated or trimmed with a band of narrow pleating. The combination of white voile and motifs made of white lace is seen in one particularly lovely slip designed to be worn under a lace and chiffon dress. The neckline of the slip is cut in 1830 style to correspond with the frocks with which it is to be worn. Several of the lace motifs are set into the front of the slip to give the effect of a panel which is revealed through the plain chiffon panel in the dress, while other motifs are joined to form a deep yoke. This same slip was made to wear under a dress of gold lace. In this latter instance the slip was made of salmon coloured chiffon and the motifs were gold lace. For wear with the coat-dress there are slips made like coats which fasten down the entire length of the front with satin ribbon runs through a narrow insertion placed at a low waistline. One model is made of pink net and trimmed with real lace dyed in a matching shade. It is further ornamented with fine hand-tucking and embroidery done on the net. For the dress having a scalloped hem there are slips cut in deep points and finished with embroidery or narrow bindings made of self-material.

Flesh coloured crepe de chine, triple voile and white linen are the materials most frequently used for the making of lingerie for the French woman. She does not choose the more perishable fabrics, such as georgette crepe. Her favourite at the present time is flesh coloured crepe de chine, although this is sometimes varied by mauve coloured silk. An abundance of lace is used as trimmings, including Valenciennes, Calais and point de Paris. Too much cannot be made of the delicate hand work consisting of drawn-work, Point Turque, embroideries, hand-made bindings and tiny flowers made of silk. Lovely sets consisting of nightgowns, chemise and culottes are shown in the shops. Among the plainer ones are those which have as their only trimming a monogram of the wearer done in a small and dainty design. UMBRELLA HANDLES SOME NEW LONDON IDEAS. LONDON, March 1. The most up-to-date umbrella measures twenty-eight inches in length, so that it can be packed in a suit-case. It is made in the Japanese shape, with sixteen instead of the usual eight ribs, and when it is not in use it can be carried upside down hanging from the finger by a ring which is passed through the ferrule. One of these stumpy umbrellas has for a handle a very fat knob which resembles an enlarged bicycle pump handle. It is made of light polished wood and has a leather tassel. Another very smart version of this easily carried umbrella has a leather thong in place of the ferrule and the handle is that f a hunting-crop made of stag-horn; the cover is of nigger brown silk and the pointe are tortoise-shell. Nigger brown is the most popular colour for covers, and a new idea te to have the cover and the strap bound with coloured taffetas, as, for instance, a black umbrella bound with purple. The majority of the best handles are carved, and their popularity is no doubt largely due to the modern woman’s liking for original things. A very 7 simple and charming black handle was carved with a raised cherry blossom design painted white. The carved bamboo handles are new and are stained rust colour or dark brown, and decorated with frogs and flies and typical Oriental subjects. In ivory a group of three little owds huddled together forms an attractive knob. Figure carvings are used, that popular subject, the pierrot of the Russian opera, being

one of the latest ideas, and from Switzerland come handles in the iorm of fulllength figures painted in seft colours. A woman whose carving has been much admired at exhibitions carves and paints floral handles for umbrellas, the colouring of the handles being specially planned in each case to harmonise with the silk cover. For instance, with a purple cover the handle may be in shades cf mauve with perhaps a touch of yellow, and a special feature is made of the way in which the sticks as well as the handles are painted in broken colour. A popular pattern for the handle has three dahlias in contrasting colours, while a new design is the enamelled “doerknob.” A leather thong passed through’ the handle has little plaques at the end. GOLFING WOMEN. WHAT THEY WEAR IN AMERICA. The Sunday Times New York correspondent writes: — “The riding girl dropped her petticoats several seasons ago; everybody has become accustomed now to skirtless riding suits, and they occasion no excitement or remark even from the primmest folk. “But the petticoatless golf girl is a pioneer in her field and will undoubtedly meet with a good deal of remonstrance and criticism—until the mode is as established as the mode of skirtless riding suits. The coat-and-breeches golf costume, however, is not yet seen walking about the streets; it keeps itself to the links, and is either donned at the club house, or is covered discreetly by a long and ample wrap on its journey to the golf course. “Almost, all these coat-and-breeches golf suite come in three-piece sets; that is a skirt is included in the outfit, and one maywear the skirt when desired. Sometimes there are four pieces—coat, breeches, skirt and cape. “There is nothing shocking or outrageous in this new golf costume. It is graceful, it is sensible, it is attractive to look at, and it no more exposes feminine anatomy than a short-skirted tennis frock would — not so much as a bathing suit or a skintight knitted sweater would! One suit of English tweed is in mixed black and white with a green thread. The coat has four bone buttons; the belt two buttons, sleeves and pockets a button each. The cut of the loose, easy coat and the softly draped breeches bespeaks the art of a first-class tailor. With the suit goes a mixed tweed hat that will stand rain or sunshine; and wool golf hose and low-heeled sport shoes of tan calf accompany the boyish regalia. “With such a suit one must not think cf wearing a fanciful, feminine blouse. A boyish sport shirt must go under that boyish jacket, but femininity always allows itself latitude in collars when masculine shirts are affected. The correct golf shirt is of handkerchief linen, finely tucked down the front, and with smoothly ironed collar and cuffs to heavier linen. “Another costume suitable for golf, or for autumn tramps in the country, but a little more conventional in type, is the new version of the town and country suit—smartlycut skirt and jacket that are quite as correct for town wear, or a trip in a railroad train, as for the links or the country club porch.

“The new sports suit is really a frock and jacket; for the skirt is part of a sleeveless jumper that turns the costume into one-piece frock. This neat frock is donned over a tailored shirtwaist of linen ot silk, and the trim little belted jacket goes over all. “A loose, boyish jacket suits best the boyish costume, but the skirt and jumper model, more feminine in style, has a more feminine jacket, snugger in fit and defining the curves of the figure more. “An effective slip-on sweater is drawn over a blouse of white handkerchief linen whose frilled collar turns back outside the V opening of the sweater. With this is worn a round hat of green felt with a smartly poised black quill, and a graceful silk scarf in black with a wide border of green at the ends."