LONDON AND PARIS FASHIONS.

New Zealand Graphic, Volume XVIII, Issue XX, 15 May 1897, Page 621

LONDON AND PARIS FASHIONS.

CHARMING little child’s hood from Paris claims the attention of my readers in Fig. I. The Parisians have ever been keen on hoods for children, and, though we are not given to looking for solidity of motive in fashions that are French, there is much common sense in this one, being a most cosy and comfortable headcover for the winter wear of the little ones, and extremely pretty and childish looking withal. The dainty model is of China-blue velvet lined with white silk. It is gathered to the shape of the head at the top and at the nape of the neck, from whence depends a short 1 curtain.' A ruche of China-blue ‘ coq ’ feathers edges the hood entirely round, being thicker

and wider over the part framing the face, and tapering round the curtain. It is tied by white satin ribbon ; bows of the same holding the two gatherings. We generally relegate hoods in England to very young children, but in Paris they wear them up to twelve and fourteen years of age. There were recently vague rumours concerning the revival of the jaunty and much abbreviated coat, entirely made of grey or black astrakan —a garment which was in vogue some two years ago. However, the report was quite unfounded, and this year we seem to have struck into an entirely new line as regards peltry. We are to be treated principally to opossum, a soft, smoky-looking fur, which will be allied not only to all shades of thick cloth, but also to seal plush and black or brown velours du Nord. With real sealskin this novelty harmonizes perfectly of course.

This three quarter length coat for the coming winter combines seal plush, as the primary material, with a considerable quantity of opposum. This fur entirely lines the huge ‘ art ’ collar, and forms the fluted caperevers that are thrown back on each side of a flat plastron in the same fur. The jacket is really so delightfully chic that many will be glad of the excuse of an exceptionally early winter in order to parade themselves in this charming nouveautf. This autumn the tailors have practically expressed a liking for white and cream cloth pipings, the effect of this style of ornamentation being especially excellent on a dark green lainage. Daffodil, or glowing ruby, associates itself so charmingly with certain shades of grey that the modistes are turning out many of their latest dove-tinted toilettes with vests or ribbon trimmings in either of these richly warm tones. Of the two colours the crimson seems the more appropriate for the winter. In my last sketch is shown a dainty house-frock in the new grey faille which clings so artistically to the figure. The full skirt is surmounted by a round pleated bodice,

sewn on to a deep ‘ dove ’ ribbon band, edged on each side with ruby velvet. Over the shoulders falls an ample picture collar in ecru grass lawn embroidered on the yoke portion, the frill being in the plain muslin.

The crimson note is repeated in the form of velvet binding, and three rosettes that are secured at intervals on the left side. Unlike the common run of gowns, this picturesque little costume has no fluffy encumbrances about the throat which is here revealed quite <» la Parisienne. ••♦ « • • A note on the question of petticoats—garments that are much more important in contributing towards the good hang of a skirt than one might generally imagine. To wear underneath a very chic autumn day gown the chine silk affair, generously flounced and bewilderingly ornamented with black lace, suggests itself as being the most in keeping with the handsome frock. For morning purposes, in conjunction with the simple tailor-dress, there’s nothing to equal the grey or sand coloured alpaca underskirt. Of course, cobwebby white and lighttinted batiste petticoats should now be reserved exclusively for the evening, unless the wearer has not yet discarded her flimsy summer toilettes. From jupons to balavences there’s but one small step. The inner flounce, which always figures under the stage gowns of our best actresses, is in these advanced days no longer the box muslin frilling in which one’s heels'were so apt to catch. No, the modern costumiere stitches rufflings of rustling silk or glossy satin under the hem of her skirt, the latest item of the kind on record being the ready-made article provided with a deep band of horsehair that should be inserted under the lining.

Heloise.