Untitled

Ladies' Mirror, Volume 4, Issue 10, 1 April 1926, Page 19

Latest in Head Wear

IV/riLLINERY does not seem to be tending towards any revolutionary changes, and certainly is not becoming any more decorative. Indeed one finds hats are almost austere, yet chic and smart. Feathers, lace and fluffs have gone quite out of favour. It is the day of the ribbon. Whenever the modiste tries to convince the Parisienne to wear anything else but felt hats and ribbons, the attempt is a failure. Ribbons seem to have grown into the one and sole complementary trimming of the velours. Ribbon perfectly chosen and matched to shade with claret and ambergine colours are at present the rage, or metal ribbons pulled at regular intervals through the crowns and brims of our hats, play a game of gleaming hide-and-seek with the velours. I Velvet Reigns Supreme WITH simplicity the keynote nowadays for all dresses; materials must make up for lack of

trimming by their richness and variety. For this reason velvet reigns as the favourite material, because it is wonderful for softening the outline and is becoming to every woman. Most exquisite shades of blues, pinks and greens are being displayed, while the famous house of Jean Patou is specialising in a Bordeaux red, which is a truly wonderful achievement in dyeing. The straight, tight coat has gone the way of the tube frock, and every model, without exception, figuring in the collections of Paris model houses features flares or pleats of some kind. An interesting feature is that nearly all the fur used is rabbit, dyed, clipped or shav-

ed beyond recognition, real fur being seen on very sumptuous, models only. Coats are generally collared and cuffed with fur, either dyed to match the cloth or of some soft matching shade. For example, a black coat will have trimmings of imitation chinchilla and a brown, velvet coat for afternoon wear would show shaved rabbit as nearly matched as possible. The round collar fitting snugly round the throat is seen, as well as the long shawl collar extending to the waist. Buttons, either in the self-material or more ornamented, appear in groups of from two to five. Sleeves show an inclination towards the bell-

shape, and are rather more full than last year. T IZARD-SKIN shoes are beginning to make their appearance. For the morning they are composed of the lizard skin alone, brogued and strapped, and, above all, with a walking heel! For the afternoon black patent shoes with ornate strappings of lizard skin and suede are worn, with medium heels. Evening shoes arc wondrous creations of broche, lame or satin, profusely trimmed with brilliants and strappings of gold and silver kid. Stockings in every tint of “sunburn” to a dark “mauresque” will be worn by the smart woman this winter, and for evening wear a very delicate shade of mauve is being sold. Tapestry bags copied from old French Gobelins tapestries, with bejewelled or heavily chased silver tops, are being shown now, and, on the other hand, the small flat envelope pocket-book is also with us.

Sleeves of the dMonient Sleeves are almost as sure an indication of the way fashion blows as necklines are, and it is often some change in the sleeve that foretells a complete change of silhouette. These sleeve changes may, of course, be merely ephemeral —a mode of the moment —or they may be lasting and have a quite definite effect on the fashion. When the puff first made its appearance it was a sure indication of the widening of the skirt and the temporary eclipse of the tube outline. Quite half the models shown for this winter have “puffed” sleeves in greater or less degree; sometimes they are called one thing and sometimes another. They have been dubbed bishops’ sleeves and peasant sleeves, and I have heard them alluded to as puff sleeves without an indication as to whether the puff is at the top or the wrist. It has, as a matter of fact, been seen in both places, for in several very advanced French maisous definitely leg-of-mutton sleeves have been shown, but these have made but fleeting appearances as yet, and it is the peasant sleeve, either lavishly embroidered or perfectly plain, that is most generally seen. Fluffy and Severe r I 'HE tight-fitting sleeve that -*• moulds the arm from shoulder to wrist is taking on a new lease of life. It is so very becoming, probably because it follows the natural lines of the arm, and the princess dresses that have found so many followers among recent brides have all been provided with sleeves of this description. The “handkerchief” is also seen fairly frequently, and it looks very well if it is made in some softly falling material like georgette or chiffon, and if it happens to suit the wearer. These sleeves are generally attached at the elbow to a tight sleeve inset at the shoulder, but they are rather tiresome things to wear if there is anything practical to be done, as they get in the way and irritate us after the perfect comfort of the neat cuffed sleeve we have worn so long on our jumper suits. For tea-gowns, of which there are two types, the fluffy and the severe, there arc sleeves in keeping. Georgette and lace or chiffon teagowns are provided with floating sleeves which go by the name of “wing” or “angel” sleeves; others are cleverly arranged with draperies which form, capes at the back, but are cut cleverly in order to cover the arms in front. Chinese Sleeves THE Chinese sleeve is popular with evening coats and tea-

gowns of the severe type. It is seen, too, on the indoor coat, which can be slipped on over a filmy frock and is a great joy, especially if one happens to be staying in a house where it is chilly. One lovely coat of this type was made in tangerine, silver and black in a rather unusual pattern and bound with bands of dull silver and a narrow piping or orange crepe-de-chine. It was lined with grey georgette, as it was intended to be worn over a slip frock of grey. The colour combination was uncommon, for most people would have bound it with gold. ZHofv Outside” Women should ’Dress / T'HIN women are in the major- ■*- ity, but the stout must be catered for in the way of dress, and really dressmakers do their best, but these individuals invariably try and order a dress which is never going to suit them, and it requires a vast amount of tact on the part of the vcndcusc to keep her stout customers on the right path. The plain chemise frock is a model fat women adore, but they should shun it like the plague, for it is obviously only for the boyish figure. Curves will send it bulging in all directions, and no waistbelt, however broad, is capable of keeping it within bounds. A pleated frock with an overdress on coat lines is far the “best” line that big women can select —it “breaks” the width, and the belt can be so arranged to have the straight line at the back as well as in the frontmerely holding the front folds in place. Then, again, let the generous figure avoid boat necks and round decollctes and stick firmly to the long V. That gives length, and the other two suggest width to a figure that is already too inclined to look wide. A Golden Rule r I 'HERE arc lots of people who simply can't wear a scarf. This may sound funny, but if they don’t know how to wear it or if it really is not their particular sort of accessory they appear extra dowdy in one. The straight tunic suits some stout women, but not all, though, in most cases, it can be manipulated by slashing and cutting here and there, and will be quite a good “reducer.” The straight coat is a godsend to the stout woman, particularly now that the flare in front is fashionable. Please just remember one golden rule: ‘Let your clothes always be made on the large side.” It is the first principle for big women of all shapes to master if they want to look their best. Squeezing into a frock is simply disastrous, even if you are only tall and proportionately large.