LONDON AND PARIS FASHIONS

New Zealand Graphic, Volume XVII, Issue II, 11 July 1896, Page 61

LONDON AND PARIS FASHIONS

CIDEDLY the most delightful association, and one which is equally suitable to young faces as to those no longer enhanced by the glamour and diablerie of youth, is the mixture of black and white or black and cream. Colour follows upon colours in the thousand and one vagaries turned out continually by Madame Modus, and it is quite a relief, in the minds of a crowd of gay millinery to meet someone sufficiently sensible to ap-

preciate the unfailing charm

of the * Magpie ’ blend. In some of the most swagger hats of this season we find black plumes shading off to white at the tips, and large velvet shapes, richly appliques with cream lace of a very fine cobwebby make. But to my mind, here is one of the daintiest examples of white associated with black. As a lining to the velvet shape, there is a fine plaiting of the new chenille, in which the sable material is picked out with cream, this interweav-

ing of the two contrasting tones being eminently effective. Tucked into the folded velvet band round the crown are two black ostrich plumes, divided by an osprey. Then come a trio of large cream rosettes, that, if preferred, might be replaced by three huge white chrysanthemums—one of the favourite flowers employed in this winter’s millinery. However, it is just by its very simplicity and absence of floral decoration that this hat will appeal to all who fully realise that to be merelyclothed is a very different thing to being dressed. On many of the latest shapes the milliner merely neatly folds a piece of velvet, in some cases draperies of different colours being laid round the crown.

My second sketch is a new kind of bodice. It is made in gendarme-blue Venetian covert cloth, bound with

either black velvet or braid. Horn buttons ; hip and breast pockets. Collars separate from the dress are so much worn that I give a good description of oneof velvet and chiffon. A soft crush collar finished with two little frills at the back is of violet velvet cut on the bias, requiring three eighths of a yard, with two tiny Paquin points turned over on the the outside. The points are of velvet each side and lined with crinoline. From the centre of this falls a breadth of accordion-pleated chiffon, white or violet, which needs half a yard. On each side is a jabot of chiffon tapering to almost nothing at the waist-line, though broadening toward the shoulders, where it ends. Other similar ar-

rangements continue around across the back, being gathered under the edge of the collar. The bias Windsor ties in plaids are taken for the simplest crush collars over a plain band collar attached to the dress. These are folded around in loose folds and tied in a knot at the back. Usually the wearers tie them each time they are worn, though they can be attached to a regular crinoline shape and fastened on permanently. Since everyone seems possessed nowadays of a black gown these accessories afford a variety of changes with one dress. They also make black wearable for all, as the most sallow of brunettes can wear such a costume if she has a velvet crush collar of deep, rich cardinal velvet next to her skin. For four or five shillings, a belt and collar can be had of bright Scotch plaid surah, forming what is termed a toreador set. The belt is of the material cut on the bias, lined with crinoline and four inches wide, being turned over on the wrong side so as] to hide the crinoline. Two short, pointed ends hang on the left side from a gilt clasp. The collar is to be formed of a bias strip of the same goods hemmed on each side and with pointed ends. This is folded in crush style around the neck and tied in a short wide bow at the back. If made of surah plaid by the yard it will require a yard, besides the crinoline and two part gilt clasps. This set is worn with changeable figured goods as well as plain materials. SAILOR COLLAR EFFECTS. A yard and a quarter of satin, the same of Japanese silk for lining, and three yards and a half of heavy white lace insertion will make a sailor collar set. Use heavy crinoline for a large sailor collar having square-cut ends in front; line it with the thin silk and cover with the satin, finishing all edges with the lace. A straight band collar of satin, interlined with crinoline and lined with the Japanese silk, has the insertion through the middle, the lace being an inch and a half wide and the collar two inches in depth. Now add a strip of the satin down the centre of the waist, four inches wide, lined and interlined like the collar, with the lace down the centre. This imitates the box-plait now worn on bodices, and should be sufficiently long to turn up at the bottom and drop over the waist line. A very dainty set of this description is of white lace beading insertion, with holes at regular intervals, through which two rows of black velvet ribbon number one are run ; the satin is of bright pink. Another collar has a sailor back, round or cape front and jabots to the waist line, as shown in illustration. This is of white batiste, with three rows of yellowish Valenciennes insertion on the edge and above. Crush belt and a full gathered plastron of pink, blue, lavender or yellow satin or fancy chameleon silk, with three lengthwise rows of the lace down the plastron. Crush collar in easy folds of four inch satin ribbon the colour of the plastron, with a butterfly bow at the back. This is particularly becoming to a person of slender form.

The third illustration shows a green winter crepoti, trimmed with bands of sable and printed velveteen used

as guimpe. Shoulder-cape, and narrow triangular panels.

The open coat worn over a blouse is hardly considered • good form ’ at present, the close-fitting, or loose-fronted double-breasted jacket having taken its place. I close this column with the delightful model of a walking gown in powder blue cloth. The coat—under which a thin silk corsage can be worn—fits perfectly to the figure, and is braided with broad black military braid. This kind of trimming and ’ frogs,’ that have been out of fashion for so long, have returned to increase the long list of

garnitures so much in favour this year. The braiding introduced lengthways on the top of the sleeves is one of the latest ideas in the tailoring world, and very dainty.

too, is this additional touch, which prevents the gown from having any pretence to being mannish, or rather ‘new womanish.’ The baggy style of corsage is still de mode and, especially in the case of blouses, that look all the better for being full and fussy, one of the favourite materials being ‘red currant’ coloured chiffon, combined with rosepatterned brocade. H ELOISE.