LONDON AND PARIS FASHIONS.

New Zealand Graphic, Volume XIII, Issue VII, 18 August 1894, Page 165

LONDON AND PARIS FASHIONS.

FANCY COSTUMES.

SEMI PURITANICAL look Jgb-i characterises the shape of this neat flat little bonnet, which, however, is perfectly modern- ' 'll *’ e d l>y the introduction of jr 11 the black aigrettes arising ’\ VI sentinel wise from the groundS VI work of black velvet striped appliques on dove • grey ’> velours. The shops are alrea< ly showing windows full of spring blooms, and many of us begin to regret the money spent on warm winter ,\\ shapes that by next year will be dated ‘ antediluvian.’ An

ue u»vru auicunuviou. mi airy French model that would look well at afternoon concerts or * at homes ’ this mild weather may be described as follows: On a large round shape composed of coarse white and sun burnt straw fancifully blended, leafless pink roses are scattered here and there around the rim. Two black velvet bands encircle the crown, which is not too high and not too low, and a large steel buckle, securing a couple of black ostrich tips, affords the finishing touch of smartness.

Watered silk is doing all in its power to throw satins, velvets, and even moire velours into the shade. As far as sleeves and trimming are concerned, it has already been very successful, but there are not many women, especially girls, who care to entirely frame their beauty in so hard a material. On my first evening model, so essentially girlish, black watered silk ribbon is introduced as the garniture of the corsage. The twin rosettes are extremely dainty, and

—what is perhaps still better —something quite new. Deep folded belts are not yet scratched from the list of what is really worn, and the one shown in this delightful pink crepon model seems to harmonise perfectly with the remainder of the frock. The sleeves, wrought in pink tulle spotted with black seams, are made so as to reveal the dimpled portion of the arm, and by reason of their particular shape to deserve the title of butterfly.

In Paris I saw a curious sleeve introduced into a serge gown. The upper portion, from shoulder to elbow, was formed of longitudinal puffings, each one kept out by a strip of whalebone. The colour of this gown was dark blue, and it displayed the favourite mixture—green—which took the form of bands of velvet on the skirt and a crossing piece on the bodice. All the bodices were large about the bust, and, while many ended at the waist in a band, or were apparently sewn to the skirt, others again had a deep crossway basque.

Winter is essentially a time for masquerading, and just now youngsters are full of the costumes they are going to

wear at such and such a dance. For a little boy, few fancy dresses are more becoming than the • Little Hans ’ costume.

Over black silk tights, a sage green cloth tunic trimmed with beaver. The black velvet cloak is lined with salmon pink silk, and the sleeves, also composed of black velours, are laced with cord over under ones in white silk. On the long linglets, the black velvet skull cap is shown off to advantage. Our other bebe is a little old English maiden, wearing a quaint orange-coloured cloth gown (you know the yellow peculiar to the Bluecoat boy’s stockings ?) An embroidery of daik blue silk runs round the hem and the belt of her frock that shows a pointed yoke, and sleeves of dark blue velvet. Nothing could be more easily manufactured at home than this old-world fancy dress.

For a girl’s dress, Miss Emery, in ‘ Dick Sheridan ’ at the Comedy (where the dresses are simply charming), is a vision of loveliness as the ‘ Maid of Bath’ (Miss Linley), and suggests a good idea for a fancy dress for any girl sufficiently blessed with good looks and a grace of figure to represent the beautiful songstress whom Sheridan eloped with so romantically.

It is strange that to judge from their occasional weird appearance, many concert singers don’t care a fig for pretty suitable platform gowns. Every vocalist would pay attention to her toilette, if she could but only realize how an audience is impressed by mere dress. ‘Simplicity un-

adorned ’ is out of date, and woe betide the sweet songstress who neglects the hang of her skirt. As a finale, we illustrate a perfect concert gown in black satin. In this case we decidedly recommend a silk backed material. Over the gracefully hanging jape an amber-coloured brocaded bodice is worn, the corsage being completed by the addition of a fringe of gold sequins, and cream lace arranged so as to fall in the novel manner indicated. Round the skirt, a band of the brocade is introduced.

The most beautiful dress the lovely Lily Hanbury wears in her new part is an ideal gown of an iridescent moire antique, something of the colour of mother-of-pearl, made with a plain shaped skirt, a tight-fitting bodice with invisible fastening ; the whole of the front is formed of a V shaped vest of exquisite old lace, with which the full puff sleeves are also edged. The tout ensemble is perfectly charming.

If we are not becoming French in every way, we are, at least, as regards the ever-increasing popularity of fancy balls. What could have 1 hit the nail on the head ’ with more accuracy than the chic dress given by our artist ’ The prevailing ‘ five o’clock ’ tea has inspired this luminary's pencil. A costume made on these lines—distinctly out of the common—is both effective and inexpensive (two great points inthesedays). The lady fair under discussion is wearing on her sunlit locks a cardboard teapot. We fear a china one would be a wee bit too cumbersome. Cut out of some old box, it should be painted blue and white on either side ; in fact, be made on the same system as the tiny makebelieve saucers arranged across the bust, and the elfin cups hanging bell like from the sleeves. The prettily-shaped chemisette affording so much grace to our initial charmer’s dimpled arms is made of stiff white book muslin, the epau lettes being fashioned in the same blue-patterned white foulard as the skirt. Muslin, encircled by an embroidered frill, and finished off with ‘ fussy ’ pockets, forms the apron, while the * touch of;the tar brush,’ so necessary for artistic effect, is provided by the black velvet corselet. This is edged with the fancy silk liliputian tin doll’s spoons, constituting an appropriate design on the china pattern. Now for the T itself. Made of black velvet pasted on cardboard, it is sewn on, in view of security, to the apron and skirt.

Black velvet numbers are gummed round the white cardboard timepiece, on which two hands composed of gold paper mark the welcome hour of clatter and scandal. T 1 e festive young creature is holding a tray and tea-service ; that, we may remark in confidence, are no other than a bright, inexpensive tin salver and some china that has been

given away with a pound of tea. Should her imitator happen not to possess one of these prize sets of porcelain,

she could easily procure a cheap box of doll's cups and saucers, etc. The shoes and stockings are light blue.

‘ Marguerite, oh Marguerite 1’ would be sweetly warbled by the cavalier of any damsel frocked in the same manner as the girl in our picture number six. This is a real ‘ Gretchen ’ costume. Merely some light blue nun’s veiling

that can be obtained at 6d per yard, is required for the ac cordian pleated or finely-gathered skirt, the same inex pensive material forming the sleeveless corsage, which, outlined with black velvet ribbon, laces over a chemisette of soft ‘ butter ' muslin. The pocket, fashioned in the blue material, is secured to the waist by a long loop of black velvet ribbon, as narrow as the one lacing the bodice. A neat little white muslin cap, edged with embroidery, is perched on sweet Marguerite’s fair tresses. This costume is, of course, especially intended for a blonde. Her shoes should, by the way, be black, and her stockings blue. H ELOISE.