IN FASHION'S REALM.

Wairarapa Age, Volume XXV, Issue 10713, 24 November 1913, Page 2

IN FASHION'S REALM.

"UP-TO-DATE NOTES ON WHAT TO WEAB.

Tho typical mode is somewhat of a mosaic. In collar, frill, sash or belt, we have the proof of this. No period is sacred; the designer invades all. After a rather long ran on the severe, wo have got back to softness. Familiarity breeds affection quite as often as contempt. The early Victorian girl was essentially feminine in her pretty conceits of frill and furbelow. When tho Directoire was ruling us we thought her insipid, and now when softness rules we esteem her dainty. Tho imuch frilled blouse is one of every appeal. I cannot imagine a> prettier neck frill than the Medici, though I observe that it is going to be enlarged!" The open fronts of the blouse I illustrated last week permit of the frill being continued right to tho waist. Quite plain blouaes are "lifted"} at once by a frill to the square turned-down eollar. It may be deep-and rounded as to outline on to th© shoulders, the back curving round the curved coillar line. The plainest sleeve is enhanced in the same way, a frill with fin-like extension up side to a long cuff length. The double frill from a long, narrow band, one up and one down, makes a delightful cuff in tho right kind of blouse. The cascading frill against centro band is chdice, one each side, of course, with flat collar, while the Stuck-out single frill from same, graduated to nothing same inches above the waist is still popular. Coat blouses are dainty garments. They are worn with open fitting fronts over waist-coat, rounded sides and waistcoat points from girdle. All sorts of Russian blouse effects are in order, with very pretty fancies ay regards openings from neck. The plainest Ijlofuso may be beautiful if its lines are artistic. One with deep shoulder and Robespierre buttons on the curve, has a belt, and the peplum is overlapped in very novel fashion. A very smart dress this, if nicely made. The material is a light-weight tan-coloured cotton ratine brocade, black satin for the collar, tie in keeping, and tan crochet buttons supplying the trimming. The sleeve is simple, but of good style, low effect, pleats half way, long close cuff with button. 1 ?. The draping is just the concession, three pleats into seam with curved over effect. I return to that spreading effect in front of over-blouse. It is an absolutely new feature, and tho best thing of its kind to date. The originator was a famous French couturier, Premet. I'll endeavour to describe a dress that features it, but I should advise you to recall the design. There are, as it were, two blouses. The under lias fronts which cross tho least bit, lace inset, and edges well marked, and sleeves to below elbow with same picking out, and frill. The over blouse is simply two side sections in front, with a full back. Everything is ip the way these sections curve round the front of the tunder-blouse, the idea having the least suggestion of a very broad brace. Having gut that well in, picture such a frock in light coloured copper charmeuse with white crepe do chine for tho under-blouse, the edges of the latter being picked out with copper coloured velvet ribbon, while the channelise sides have an inward set frill which rises to Medici | form in tho collar. This velvet will also end the sleeves, with a frill to finish, and will forn a girdle of foldpleat character. The skirt is composed of a circular foundation and a tunic arched in front- and pointed 'at back, with gathering into girdle. If

you want perfection, use crystal beads in a tsimple design on the crepe do chine fronts, though it isn't necessary. The hat will be in keeping—a creation of straw and ribbon, the copper tint for both. But I think I'll draw the entire dress week after next, with >:imall panel at side to .show back. The charm of the evening gown of now is beyond all question. The art is to get a draping with slight effort, ■apparent, of course, as art conceals art. An exquisite creation is of cream white dot embroidered silk crepe, with folded blouse sides over short alcove vap, while old blue charimoitse forms the centre of the blouse, niched along the straight decolletage. In the skirt the charmeuse drapes from the front to back in cross form, like two closed wings, one side being girdle and other open, with the result there ia a Jong hip section of the crepe that iside. The back takes everything to a long panel oif the charmeuse, waist till it resolves in train, but the cross in front reveals a depth of the crepe in wedge form from about the knee level to foot. Is it too involved to follow? Russian ideas are more easily explaine 1, as one with cross front and Jong tunic of printed net, the foundation for all being blu(i satin. Or a Russian effect with rounded decolletage, tunic fairly long, the developing materials being rather extravagant. Thus a yellow (Lurimeuse enriched ivi'h beads, and old gold velvet girdle the skirt below tunic having a deep flounce of lacft. But let us study economy, as in a Russian effect, crossed front, blue and white foulard, with border on tunic. and skirt; crushed gis-d 1 .-. colk.iand c jffsr of blue satin Who pays the bills? T know not, but it is lucky sometimes to have a man about the house to see to this part. Here's another hat, sir, for madam, and Hennard, who designed it, thou Jit it cheap at than I'll commit tfj papel'. It is a cloclic shape in red silk covered with black lace, a ruch of black lace standing up round the crown and a black aigrette—carry drawing up—enclosed in a bow of red silk. Rather striking, of course, but I am far less concerned with the description than the idea. After all, it is the design that counts, the rest being a. matter of choice, and in this case, perhaps, of purse. I often come across the odious comparison with respect to nationalities. I accept all such opinions with a grain of salt.. A London writer says : ''Gloves are tho outward symbols of character, taste, and training. Looking round the women seated in the train or 'bus, otne can immediately tell, not alone nationality—French, German and English—but one may derive a certain amount of pleasure or disgust from the quiet study of their gloves." That's all right, but what of this: "The Frenchwoman's gloves are all daintiness and elegance, without spot or blemish; the German's sensible yet well-fitting; but, alas! .many of our countrywomen are not less free from the untidy look nf the vacant button, the soiled fingertip, and the wrinkle that proclaims carelessness in tho buying." Apparently only a. French woman knows how to shoe and glove. Unless she has some special 1 make of foot and hand, what nonsense. Everyone knows a good glove, and so far as the purse allows, sees to it that she wears such. I don't suppose that French women have any more money than their sisters, and they would hardly be more ready with needle and thread than the English or German girls. As for shoes, speaking generally, America holds the first place for daintiness, and anyone can buy an American shoe. You can't believe these reports. A little while ago someone from our country who was visiting Paris wrote that the average French girl was not great on gloves, and that her shoos when on were frequently "off." Something else I'read is more interesting: "The fine filet lace sold for brise-biae curtains makes excellent under-blouses to be veiled with chiffon or ninon. The fashion, for veiling is a very kindly one to the home dressmaker, for crude colours may be mercifully toned down, and the siliabbiness of half-worn fabrics concealed by means of it."