HER LADYSHIP

Southland Times, Issue 19276, 21 June 1924, Page 15 (Supplement)

HER LADYSHIP

THE DECISIONS OF PARIS. GREAT VOGUE FOR RIBBON. Ribbon is being plentifully used again this season, and the most charming and distinctive effects are being obtained by means of those fancies which have always appealed to poet and designer alike (writes the Paris correspondent of the Sydney Sunday Times). The colours most chosen are vivid green, bright blue, orange, and vieux rose, but the piece-de-reastance of all colours is a fancy one that unites every one of these shades in its narrow width, and then adds a silver or gold thread through them as well. The most startling of effects are being obtained with this novel braid, but it must be used by the hand of an expert, or very distressing results to the aesthetic susceptibilities and optical nerves of onlookers will be the result. Especially in the world of millinery is ribbon being used extensively. It is to be seen in every width, ranging from one to six inches. It is quilled, pleated, laid on in flat bows and tied in smart bows finished with long ends that reach down as far as the waist-line. Plaid ribbons are also being used, but this is only to be expected, as plaid is very general as a decorative note at this moment. Plaid cloth panels trim the thick bure motoring coats which the chilly winds of late winter still make it necessary to wear. A neat little short-coated costume will have quite a braw Scottish air added to it by reason of facings and linings of taffetas woven according to the different Highland plaids. Other tartans that surely never existed in any country, and are now only seeing the light of day, thanks to the fertile imagination of some foreign designer, are doing duty quite effectively as trimming for hats. Many Frenchwomen are guilelessly proclaiming their allegiance to an imaginary clan by wearing tartan of this ’kind as a trimming to their frocks and hate, because it adds just enough colour to a sober-colour-ed dress to please the taste of a woman who dislikes overmuch decoration, and yet likes to add an individual touch to her clothes. Lace, too, has not by any means gone out of date. As soon as furs are put away, then lace in the shade of frills and flounces and scarves is brought back into the limelight of fashion. Ruches made of any kind of soft, .silk lace adorn the neck, front, and pockets of the tunic on a girl’s frock; half a dozen frills of Valenciennes lace finish off the round neck of a soft little afternoon frock of crepe de chene or crepe morocain. Another idea to lend a touch of freshness to an otherwise strictly plain, dark frock—that is, if it be fitted with the long sleeve with the gauntlet cuff that is so popular just now—is to finish this off with six graduating frills of lace. A black satin afternoon reception gown, with a little piece of real lace to trim it, is the delight of many an elder woman’s heart, and certainly nothing looks more elegant in these days of startling jazz colouring and jazz ideas than a white-haired lady in such an atmosphere, wearing a simple gown trimmed with touches of old lace. The fine lace shawl thrown over the shoulders for theatre or even home wear in the evening is still favoured by many women, as it is not only effective and practical, but extremely economical as well. It covers up the defects of many a gown that has lost its first bloom of freshness, and yet is still too good to be cast aside. GIRLS OF TO-DAY. READY-FOR-ANYTHING AIR. The title “Jane XXIV” to Mr Gerald Kelly s picture at the Royal Academy draws attention to the number of portraits of girls which might be marked “XXIV.” They are pictures of the period —1924 (states an English exchange). It is not only the fair shingled hair which marks “Jane XXIV”; it is the character of her face, the ready-for-any-thing air. - Instinctively one thinks of a career for Jane rather than—a home. The same look can be traced throughout the exhibition. In Mr F. Cadogan Cowper’s “Joan” it is not developed; it it not dominant; sweetness and prettiness are still suggested. Mr Archibald Barnes has called his picture of a girl “Madame.” She is very young, and evidently not French, but she has the self-possession which suggests the title The folded arms of Mr James Mcßey’s “Lady Frank” match the decision in the face; Mr George C. Drinkwaler’s “Circe” is Jane ready for pleasure; Sir Ralph Longstaff's “Portrait” shows her capacity for being comfortable; she is the girl of the open spaces in Mr R. E. Fuller Maitland’s “Portrait”; and she is boyish in face and attitude in Mr T. Alfred West’s “Marjorie.” The question that woman will ask themselves when they have studied “Jane XXIV” in all her pictured moods will be: ‘ls she lovable?” The artists have attached cigarettesmoking to the “XXIV” girls, although many of the younger women are not now smoking. There is “My Lady Nicotine,” by Mr Stanley Thompson, a typically modern girl with low-backed evening dress, with clever, capable face gazing at her reflection in the glass as she smokes a cigarette before dinner; while the picture of Princess Dilkusha de Rohan by Mr James Mcßey would scarcely be complete without a cigarette between her fingers. Bobbed and shingled heads will never be separated from “Jane XXIV” now that they have got on to canvas. Even the way she fixes the Court plumes on her bobbed head is shown. ‘ g IFRED” LACE, A GOOD EDGING. This is a pretty lace, suitable for edging tray cloths, guest towels, or tea cloths. Use 24 cotton and No. 5 steel hook. Begin with 81 ch. Ist Row.—l tr. into Bth ch. from hook, 9 more spaces, 24 tr., 6 sp., then 1 tr. into last ch., 3 ch., turn. 2nd Row.—Miss Ist tr. and work 1 tr. into 2nd tr., 6 sp., 3 tr., 4 sp., 3 tr., 11 sp., 5 ch turn. 3rd Row.—3 sp., 3 tr., 4 sp., 3 tr., 13 sp., then 1 tr. into next tr., 3 ch., turn. 4th Row.—l tr. into 2nd tr., 4 sp., 2 la., 3 tr., 24 tr., 2 sp., 5 ch., turn. sth Row.—3 sp., 3 tr., 2 la., 3 tr., 4 sp., 2 bars, 3 sp., 1 tr. into last tr., 3 ch., turn. 6th Row.—l tr. into 2nd tr., 2 sp., 2 la., 4 sp., 3 tr., 2 bars, 3 tr., 3 sp., 5 ch., turn. 7th Row.—3 sp., 3 tr., 2 la., 3 tr., 4 sp., 2 bars, 1 sp., 1 tr. into last tr., 3 ch., turn. Bth Row.—l tr. into 2nd tr., 8 sp., 3 tr., 2 bars, 3 tr., 3 sp., 29 ch., turn. 9th Row.—l tr. into Sth ch. from hook, 7 sp. on ch., then 2 sp., 24 tr., 6 sp., 1 tr. on last tr., 3 ch., turn. 10th Row.—l tr. into 2nd tr., 6 sp., 3 tr., 4 sp., 3 tr., 11 sp. Repeat from 3rd row for the length required. For the Edging. —Commencing at 6th sp. from point with a d.c*, 8 ch., miss 2 sp., 2 d.c. into next 2 spa., 10 ch., miss corner, 2 d.c. into each of next 2 sp., 8 ch., miss 2 sp., 2 d.c. into each of next 2 sp., 4 ch., 2 dc. into each of next 2 sps. Repeat from * all along. Turn and work 10 tr. into 8 ch. sp., then 18 tr. into 10 ch. loop, 10 tr. into 8 ch. lo«p, 8 tr. into 4 ch. loop and repeat all along. Turn, make 3 ch. into same place. Repeat all along the entire length of work.