LONDON AND PARIS FASHIONS.

New Zealand Graphic, Volume XI, Issue 43, 28 October 1893, Page 357

LONDON AND PARIS FASHIONS.

SEVERAL SELECTED FANCIES. From amidst a mass of gorgeous and variegated hats, I have selected one which is sure to be useful. It is a young lady's or bridesmaid's hat in fine ecru laee, drawn on gold wires. Large bows of cream and maize striped broche ribbon. Choux of lace, holding beautiful cream ostrich plumes. Bow and small plume tastefully placed under the brim.

The very exaggerated sleeves are now voted vulgar in the best circles, and my artist has exactly hit the dimensions of those now adopted by the ladies who are considered to lead the fashions in London. It is probable that the size will further diminish before long, and that the fulness will again drop towards the elbows. In the second illustration, which represents ‘ ashes of roses ’ glace silk—quite the most fashionable material just now—the cape frill is in pink silk, bordered with ‘ ashes of roses ’ ribbon and veiled with string-coloured embroidered net. This body is cut low in the neck, a mode which is rather largely adopted just now, though it suits very few faces. In the present instance the lady has added a black velvet ribbon round the throat, in deference to this very defect. The belt is of silk, covered with the embroidered net and edged with ribbon. The pink, it will be observed, is not seen except through the meshes of the lace, a fact which assists it to harmonise with the soft tone of brownish pink known by the poetic title of ‘ ashes of roses.' The bat shown with this dress is in fancy Tuscan straw, trimmed with pink roses, one being very becomingly tucked under the brim al the left side

The pretty afternoon dress from which my third illustration was sketched was in fawn-coloured embroidered muslin made with the full skirt now necessary with all light fabrics. The sleeves are made in three tiers of frills falling over plain tight ones made to the wrists, and the jabot is also made of the embroidered muslin. The foldedsilk beltis fawn-coloured, like the muslin, and the dainty little coat is in black satin, the revers being trimmed with frills of the embroidered muslin. The skirts of the satin coat are made quite full at the back, but flat and closely fitting at the sides, as is now the reigning mode. There is, however, none of the loose, illfitting, half-on, half-off style that characterised the coats of last season. On the contrary, the backs are made to tit in with exactitude to the waist and shoulders, and there is very often an invisible arrangement which draws the jacket together at the waist. Sometimes it is by means of a small strip of the satin, moire, silk or cloth, which buttons underneath, and can, if necessary, be turned down out of sight; and sometimes the sash, which appears to belong to the dress, is in reality part and parcel of the coat, serving to keep it taut and trim and close to the figure.

Now the balloons have all but disappeared, for though there is fulness across the shoulders it is not the great fulness. Where heretofore all the lines were upwards, now they all droop downwards and outwards, and the sleeve finds its greatest width near the elbow, or as I have said, somewhere in a line with the bust. This at any rate gives a more feminine outline. AS TO SKIRTS The excitement about wearing hoop-skirts was premature. By which I mean to say that steels have not at this writing been sanctioned by the Paris dressmaker or worn by women dressed from Paris. Dressmakers here are interlining the skirts with a stiff cloth woven of horse hair. I his cloth resembles moreen, but is stiffer. Also it is expensive, a not uninteresting item. It runs nearly or quite to the top in the back and half way up in front, and it makes the skirt stand out in flute-like rolls at the bottom, like a half-opened umbrella or the scalloped edge of a cake dish. Having taken great pains to produce this hair-cloth, nothing worse is anticipated in Paris for the present. But even this is a fall from the ideal.