Vanitas Vanitatum

Ladies' Mirror, Volume 4, Issue 8, 1 February 1926, Page 15

Vanitas Vanitatum

SUMMER fashions this season have been both dainty and smart with their trimming of frills, pleats and godets, which have added a charm the straight silhouette lacked. From a review of the latest fashion journals indicates that the autumn and winter modes are to follow these attractive styles in modified form in, of course, seasonable materials. The popularity of the ensemble still holds sway, usually in contrasting colours, although many smart ensembles are shown in black; which, however, must have a touch of some very vivid colour or grouping of colourings for trimmings. To the fashion of the ensemble costume belongs the credit for making women more conscious of colour now than they have been for many a day. When the coat and dress that matched each other were first put together and proclaimed as an “ensemble/’ colour harmony in clothes was dramatized. Women were amazed to see how much better they looked in these ensemble costumes than when they chose their colours in a haphazard way. They looked more interesting than when they played safe and clung to black. They began to consider seriously this question of colour in the costume. Out of the first ensemble idea grew a more sophisticated sense of colour, ; | 'HE term “ ensemble now means A not only a matching coat and dress, but any costume in which there is an underlying harmony between the two parts. One of the new discoveries that women have made is that too much meticulous matching is apt to be monotonous. They have begun to reach out for

other less obvious combinations than that in which the coat is an exact colour counterpart of the frock. From now on, women will adventure more and more into colour and combinations of colour. It will take more thought, more time, to compose a costume now that intricate colour harmonies play so important a part. But no one who feels that clothes supply our first opportunity to express whatever discrimination we may have, will doubt, for a moment, that the effort is well worth while. r i 'HE two-piece jumper frock is -*■ shown in all their smartness. It is practicable, it is youthful, and it is becoming. For these reasons it is well to know that the jumper frock is not to hold sway after the long days of summer have passed. It seems as though capes are to have a revival. Short hip-length crepe creations, with a bias treatment, is the latest novelty, and this gives them a very graceful and clinging effect. They are, of course, worn with sports clothes, and some are three-quarter length, and even longer. Skirts do not seem to have any tendency to become longer. Fourteen inches from the ground seems

to be the prescribed length for smart walking skirts; but naturally skirts are relative. One’s legs must be considered! However, skirts for sports wear are not likely to appear any longer, which will be very consoling to the more active and welldeveloped younger set. Cfashions f ports Qirls ANY changes have taken place at the call of fashion in the name of commonsense — connection with sports clothes. This is only as it should be, now women take so keen an interest in outdoor pastimes and active recreations. It’s not every girl who, if she plays golf or tennis, is keen on walking, boating, etc., can afford to invest in special kit. What she must do is to be sure that she includes among her clothes at least one frock that will give her freedom of movement for games, and that won’t come to grief if it gets wet; bearing in mind that there’s no reason in the world why she shouldn’t have both a smart and becoming model. There was never a year when she had a wider choice, and one of her greatest problems will probably be whether she shall have a “one” or ’two-piece.” The onc-piccc frock is a prime

favourite, especially for the beach. Its success depends beyond all else on its cut and the neatness of its detail. Tobralco is now woven in many charming patterns that will puzzle you for choice; also, there are the delightful new ginghams, cretonnes, and sponge cloths that load the shelves of big shops so tantalisingly. Whatever we choose, we shall be right in our choice if the tone is one in which we look our best. That is the only and the safest rule. Whether a “one” or “two-piece” frock is chosen, trimmings, etc., will be carried out on much the same lines. These must, needless to say, be exceedingly simple— are much used, and buttons put to a practical use (that is to say, a frock or jumper will have the line broken by a row of buttons, from neck to hem, that actually fasten the garment, placed close together). So are pockets (a practical form of decoration, these!) of every conceivable shape and size. Often a Batik handkerchief, peeping from one of them, will give the needed touch of colour. Then again, collars and cuffs, or collars alone, in linen, in holland, in pique, in muslin, in cotton and silk crepe, give the freshest of touches. Inverted pleats, knife pleats, box pleats, indeed, any sort of pleats, are the newest and most practical method of making skirts easy to move in, while at the same time, retaining the narrow effect, without which a costume is never smart these days. ' | 'HE wise woman won’t choose A for her little sports frock a fabric that is too fragile or crushes

easily, though she doesn’t, of course, want anything heavy for summer wear. Kasha, of course, is idea’, and there are luckily nowadays many materials on the market, carried out in practically every colouring that resemble it in all but the price. Then, of course, wool stockinette, which looks quite summery in the lighter weights and colours, and "s altogether serviceable. Shantung and tussore are ideal materials for hard wear, also all members of the cotton crepe family ; the various light-weight woollen fabrics can never come to any harm, and if they are carried out in a delicate colour look as “summery” as anyone could wish. SCARVES are important features of the newest models —not the hight-coloured Batik scarvesbut scarves of the same fabric as the dress or, at least, the same as one of the fabrics; a “two-piece,” for instance, that has a ratine skirt and a crepe top will have a ratine scarf, and so on. This leaves much to the individual taste. 7TTH godets so much in fav- ’ * our, a hint for the home dressmaker may not be out of place. Whether your godet is gathered or plain, pointed at the top, or squared, cut it on the cross if you want to get a really fluty flare. Even if the godet is cut on circular lines, so that there is bound to be a certain amount of flare, whichever way it is laicl on the material, that flare will look stiff and stodgy unless the godet is cut on the cross. All this does not apply to pleated

godets. These must be cut on the straight, or your pleats will not lie flat. If it is a delicate cobwebby lace as fine as gossamer, sew the seams by hand, but if it is a heavily patterned or open-meshed lace, machine it instead. It is hopeless trying to make a nice hand-sewn seam while half the time you are sewing holes and the other half knobbly bumps. But when you machine the lace, have a loose stitch, and keep the foot of the machine raised, or it will catch in those self-same hoVs or bumps and ruin the lace. When sewing on a collar the under layer must always be sewn on first. The top thickness must never be fixed to the neck of the dress until the collar has been permanently rolled over in the position it is to take. The reason is that, being uppermost of the two layers, it takes a slightly bigger roll and so needs to be larger than the underneath, and just how much can only be judged by having it rolled in its correct position. Never turn up a velvet hem at the foot of your velvet frock; face it up with silk. The velvet clings round the ankles, making walking very uncomfortable. Tucks that are fairly wide are usually stitched by machine, but pin tucks and other tiny ones are daintier if run by hand, especially if the fabrics is fine or silken. COME of the more exaggerated creations that have been designed

as “advance styles" by leading Paris couturiers arc rather startling, and although they are not likely to become the vogue without much modification in the Dominion, they are interesting as indicating the trend of fashion. The silhouette is undoubtedly being transformed, while back is front and front is back. Straight lines arc threatened by lines that curve, defining waist and hip. The flare in certain instances rises to the shoulder. All this is very confusing and contradictory. As for the new back movement, fancy if you can one of our leading French actresses at Longchamps with her apron on behind! For this is the new line, the front flat, the fullness whether of apron or other cut, all in the back, just the opposite of the full-front flat-back silhouette we have only now learned to wear artfully. Any method of arriving at back fullness is seemingly correct. The one necessity is that the front shall have none of it. t "J 'HE moulded line, that has overnight become the arch-enemy of the straight, nips in the waist a bit and by the same token rounds out the hip. This is all very, very slight. There are those who profess to sec in it a tendency to return to wasp waists, but corsetiers and others are not warranted in becoming excited by such a limited departure. Beginning with evening dress of the sheath type, the moulded silhouette has now proceeded as far as

afternoon frocks, and has made an impression upon coats. These are usually slightly fitted by the employment of side-front and side-back seams, with flare at the hem, the whole reminiscent of Russian lines. The moulded effect, or what were once designated as princesse styles, semi-fitted, with wide flare especially marked at the sides, is a marked tendency in stylish models. Yet while we are giving this silhouette attention, we must remember that the straight line at the waist is quite as good as ever it was. Fashion is merely striving for variety. THE shoulder flare is another innovation. This is for coats, and for very elaborate coats, too. Furred and embroidered velvet models in full length or shorter, may start flaring at the shoulder and continue to the hem, where the fullness is by this time considerable. This is rather a simple effect, not really new, but in disuse for such a long time that it has all the aspects of novelty. One well-known Paris couturier, Philippe et Gaston, has the temerity to introduce the “barrel silhouette.” This is exploited in coats and dresses, obtaining the contour by various means. In every instance the hem is cupped in somewhat in the manner of a hobble skirt, and the widest part of the “barrel" comes a little below the hip. Pleats and gathers contribute to the effect, but it is so much at variance with the flares that it is quite likely to take time to popularise it. Some of us may even then refuse to receive it.

What c Paris £ays ‘ T ET your evening wear be as ornamental as you like,” is how Paris foreshadows the coming vogue. While New Zealand is in the midst of its daytime and outdoor activities under a glowing sun, the relentless passing of the seasons will soon be engaging our readers in thoughts of evening frocks once again. As the mirror reflects, so The Ladies’ Mirror gives the earliest reflections of what the couturiers of Paris are creating in new

designs which in turn will doubtless influence the vogue here. It is a long time since the mode has shown such richness of line and material, such beauty and choice of colour and trimming as to-day. For the evenings we see gay embroideries, rich trimmings, delicate or vivid colours and much gold and silver. The vogue is for rich materials, while at the same time ensembles are as much in fashion as ever. Chiffon and crepe georgette frocks, which had such a well-de-served success in the spring, are again presented by the couturier. Lace frocks are as popular as ever, and silk tulle has been added to all these filmy fabrics. TTERY full skirts with panels, ■ * points, petals, godets and flounces are best suited for models

made in these materials. It is usual to have the points or panels longer than the skirt itself, which gives a broken line to the bottom, always graceful for dancing. The flounces and godets can also be irregularly disposed, so as to obtain the new slanting lines and to indicate a higher waistline in the front, as is the custom at present. The fullness at the back, which changes us from the old silhouette, is often found in evening dresses. Bodices are plain or trimmed with some embroidery with slight-

ly rounded decollete in front. There is often a low point at the back. Some croisc bodices are seen fastened with a small bow in front or with a jewelled buckle. A big flower or bouquet at the shoulder or waist gives the necessary touch of colour. One of the shoulder straps —or bothcan be tied in a bow with two long ends dangling from it. jp' MBROIDERED frocks arc as numerous as ever, and they are made in chiffon or in some heavier fabric such as velvet, satin or lame. The embroideries are extremely rich and made with paillettes, beads, cabochons, and also with applications of velvet or ribbon. Velvet flowers, big or small, are often used to form a wide border on the skirt, and

velvet ribbon ruches or other decorations, when cleverly treated, give a very good effect. The embroideries are either ton sur ton (an entirely white or blackbeaded or perle dress is particularly smart) or multi-coloured, and very often in two well-assorted shades, such as pink and mauve, pink and blue, violet and mauve. Wealth of Ghoice in Golours r I 'HE most popular colours for A evening frocks are shades of pink, Absinthe, chartreuse, mauve,

cyclamen, and blue, while those who appreciate the more vivid colourings vivid .shades of orange, red and violet predominate; while white retains its ever-appealing charm, particularly with the younger set. Evening coats are often of the same shape as afternoon models, or else they take the form of a wrap or cloak richly trimmed with fur embroidery and metal. Fashionably

or a velvet coat with a matching crepe or chiffon dress. But it is even more effective to have the wrap and dress in contrasting colours, and for the evening bolder combinations are allowed. A violet velvet cloak on a green dress seems to be a daring plan, but in reality it does not strike one as such once one sees it. A white cloak lined with Absinthe green velvet and worn over a white dress is extremely smart. Velvet linings for evening cloaks, whether in velvet, satin, broche, fur or lame, are the smartest, and have

• shaped Princess coats have most of ; the fullness at the back and sides. I Fur cuffs to coats are very popular - now. The ensemble scheme is found - in evening models, as well as in all other costumes, and we see a coat ; and frock made of the same velvet • been adopted by all chic houses; ) only in a few models are they re- • placed by satin ones.

T)ress c Accessories T{ecent HHintsfrom fgndon THE glove muff is the latest A evening device. Determined efforts have been made to bring back evening gloves, but except at Court and on ceremonial occasions they are rare, and even then a new pale flesh tint to match flesh-coloured stockings is preferred to the lace shades and white tones. But something is needed on cold nights, and so the snug glove-muff has been evolved. It is about the diameter of a stove pipe, and is made of velvety deerskin, lined with white fur and edged with beaver coney. There is a pocket for a handkerchief and purse, and the idea is seasonable for chilly evening drives, states a London writer. Handbags show a never-ending succession of innovations, but pochettes remain first in favour, in spite of many attempts to introduce different bag shapes opening at the top and made square. The prettiest pochettes are of English design, in gold or jade kid embroidered in gold with a grape setting. Another new pochette is of red-bronxe velvet studded with cornelians, and another is of silver kid with a bunch of violets made in bas-relief.

AMONG new leather bags are jazz-coloured pochettes: the flap part is pieced in like a patchwork quilt, with coloured leather in red, green, brown, fawn, and blue, so that they can be carried with any frock or suit. One new bag looks like a book, and is mounted in the colours of a small ledger. A good deal of artificial snake skin is made and also python and lizard, but the real reptile skins are more scaly, less shiny and more costly. The bigger shopping bags are again made like pouches with large tortoiseshell mounts. For the evening generally silver and gold leather flap-over pochettes, and jewelled Dorothy shapes, studded with paste or coloured stones, are customary, and for dances there are new little tulle bags to match frocks, with perhaps a few flowers on them; they are perishable, but cheap. SOME of the newest shawls are made of velvet printed in Batik in rich designs and bordered with silk fringe in matching colours. These are worn in the theatre, after dinner, and at bridge parties. The lik-

ing for shawls is constant and is not discouraged by cheap copies of old Chinese and Spanish shawls. Some new shawls are made of crepe remaine or heavy crepe-de-chine with rich-coloured centres embroidered in silk and metal thread and with a heavy silk fringe knotted closely to give a fuller border. Other shawls are more like broad scarves with some bordering of coloured georgette or fringe and made of tinsel or gold and silver metal fabrics; others are made of broche ninon with a silk fringe in the same tone. The square handkerchief scarf is found useful under a fur coat to keep the fur off the back of the neck. Jabots, collars and cuffs, and various suggestions of lingerie are common, and are mostly tinted a little, since dead white is not always becoming. Similarly handkerchiefs are often of coloured ninon, georgette, or damase to match or to contrast with a frock. There are pockets on nearly all jumper suits, and from one or another a coloured handkerchief will peep out.

The newest idea is to have the collar and cuffs of an all crepe-de-chine jumper-suit worked in broderie Anglaise. It is very distinctive. The flare is an accepted thing for frocks and coats. It may emerge from the sides, or each side of the front —the back being quite plain—or at intervals all round the skirt.

TN drawing our readers’ attention -*■ to a business announcement in another column of this Journal, relative to Maison Marie, Expert Corsetieres, 14 Winstone Buildings, Queen Street, Auckland, it is interesting to note the increasing demand for the Treo Corset. The Treo Coy. specialise in the manufacture of high-grade girdles, brassieres, and corsets, and have no less than sixty models for clients to choose from. At Maison’s ladies are assured of personal attention, expert advice, assistance, and privacy in their selection. Satisfaction is guaranteed, as fitting is attended to by a corset specialist, who understands the individual requirements of every figure. Treo creations are designed to give the maximum degree of comfort and service, and are moderately priced.