The World of Fashion.

New Zealand Graphic, Volume XXII, Issue XVII, 29 April 1899, Page 582

The World of Fashion.

By

MARGUERITE.

Velvet, fur, and cashmere not only begin to sound and look cosy, but feel decidedly so, for though we still have some lovely days for April, yet the nipping and the eager air searches unpleasantly our light autumn fabrics and makes us appreciate the comfort of a warm dress. In selecting one's outdoor clothes there is plenty of room for the exercise of taste. For those who do not care for gayer attire there is nothing more becoming than serge, or more profitable, and wearers of this will be entirely in the fashion, so those mysterious authorities who order our attire have decreed. Of course, I need not repeat my remarks in former articles on the vogue of •cloth and other tailor-made gowns.

Then as to design. Fancy the advent once more of the redingote, the polonaise and tunic in which we used to array ourselves some nine or ten years ago.' Well, they are to be quite a la mode. Besides the very complete and varied styles in new coats and jackets, there are also some very pretty small capes and pelerines, with and without long stole fronts, their originality consisting chiefly in their greatly varied fabrics and novel and beautiful finishings, two or three different materials being employed in their formation. They are graced with silk embroideries, applique bands, points, and special neck, shoulder and stole pieces, and decorations in chenille and velvet cut-work, with fringes to match. A simple tailor-made cape of fine cloth may he charmingly elaborated by the use of these garnitures, and "• small wrap of special distinction pn. luced. The Louis XV. coat, the short Eton and the sac-back coat are also open for choice, and more masculine, close-fitting jackets with tabs proportioned to the caprice of the wearer.

Tn anticipation of the many gaieties that are on the tapis, including the

Government House ball, Northern Club ball, and St. George’s Rowing Club ball, which are to take place within the next month or six weeks, it behoves us to turn once more to evening dresses, which I illustrated more fuilly a fortnight ago. The first illustration displays the latest sleeves, drooping ones caught up with jewels upon the shoulders and very long at the wrists, a kind of cross between a mitten and a glove. Then there is the handkerchief one, almost a fichu with its prettily hung ends fastened by a spray of roses; the three-quarter length also is exploited; but every sleeve there is grips the aim closely as if to make up for the coldness with which it held aloof in the

balloon form, for so many years the only wear.

Hats are also being worn with strings on picture shapes, and add to the picturesqueness. Tulle, in big choux and rosettes, is being used a great deal just now in conjunction with fur for millinery—a mixture, time back, we should have dubbed out of all keeping. Fashion’s decrees just now are most obligingly elastic, however, and this particularly applies to the jacket and mantle question. We may wear a Redingote, a half-length, a semi-basque, or a coatee to the waist only, and feel equally complacent in either, calm in the knowledge that in one or the other we are an fait. This is a comforting state of modes indeed to the ‘limited means’ community, for by judicious ‘faking’ it is easily possible to be the possessor of perfectly up-to-date wraps quite guiltless, apparently, of the wear of a previous winter. The quite short jackets, or waists, are particularly smart for a youithful figure. The one shown in this figure is sketched from a handsome model just seen at a great house well known

for its chic productions. The bodice is of brown cloth, cut to the waist only, tight-fitting, and fastening on the left side. The sleeves are of brown velvet, with a couple of sable bands round the wrists, and the high collar and one rever are lined with velvet also, edged with sable. There are many possibilities about these

coatees, as our astute readers of gumption and good management will see, owing to the small amount of material required. The best portions of larger passe garments of previous winters would make the bodice, with fresh velvet or velveteen for the sleeves, etc. These little jackets are made in sealskin, astrachan, and caracul also, so there are plenty of openings.

One of the numerous charming silks is here delightfully combined with a square yoke plastron of finely tucked mousseline de soie inlet with lace insertion over white satin. The tiny revers that roll back from the fronts are faced wth white satin. Applique bands of white embroidered chiffon form the handsome decoration around the square-cut neck and on the edges of each front, epaulette, and wrist. This is a scheme that may be taken as the most luxurious to be suggested; simpler ones on the same lines are readily carried out. The arrangement of the bodice is made over perfectly fitted linings that close in the centre front. The seamless back can have the yoke applied over the material, or the material can be cut away to give

the fashionable guimpe effect, or it can be of one fabric if so preferred. The yoke plastron is included in the right shoulder seam, its edges being secured to the lining under the right front, while the left edge and shoulder are finished separately and provided with hooks to close at the shoulder and under the left front.

An ingenious mind will be able to see in the design sketched the means of bringing together a variety of elements to blend into one harmonious whole. A judicious selection of sale

purchases may very well be turned to good account. For instance, the bodice may be accordion chiffonette or silk, and the sleeves, epaulettes, and straps of lace, passementerie, brocade, or ribbon. Or the bodice may be of accordioned veiling, the sleeves of plain veiling, and the epaulettes and straps of any available material. Carried out in black and white, this scheme is delightful, or petunia and sulphur, or black and colour.

NOVEL IDEAS IN TEA GOWNS. Almost every woman considers at least one tea gown absolutely ir.dispensible. Of course, a tea gown is an ideal gown only when seen on the

ideal woman, buit that does not seem to make any difference to the ordinary feminine mind. The same instinct that makes for the softness of evening attires makes for the frills and laces of the tea gowns. Fortunately, the tea gown has now a powerful rival, the tea jacket, to be worn with dress skirts, and far, far easier of construction; also, much less expensive. This figure shows a lovely and novel tea gown. It consists of a pleated ‘smock’ robe from throat to feet, of mulberry silk brocaded with bunches of lilac, the throat and wrists being furnished with full ruffles of white chiffon. Over this is worn a Bolero and sleeves of mulberry velvet embroidered with steel.

A very pretty simple winter frock is introduced in this figure, which may prove useful to some of the maters amongst our readers in search of a suggestion for a little girl’s dress. It is of strawberry coloured cashmere, over a tucked yoke of silk. The collar,

of square tabs and cuffs, are of the same coloured velvet with a quilled ruche of a similar shaded ribbon at the edge. The bodice is pouched somewhat, and the waist-band of velvet. The pouched bodices are particularly happy for children’s wear, and where smocks are objected to, obviate the necessity for the tight bodice, which is so hideous for young girls and children. The quilled ruche now sold at all good drapers—with thread to draw up to any required fulness—is particularly useful for trimming children’s garments, it is so inexpensive, and in so many colourings, as well as an accommodation for blouse decorating for ourselves. The picture will show the last surprise, a mingling of cloth and velvet on polonaise, the polonaise being arranged with a shawl point back and front, hedged, like some old Persian drapery, with coloured chenille embroidery. If one wishes a sheath-like

skirt such as this to hang really well, great care must be taken as to the form of the jupon worn beneath it. The characteristics of this skirt are a close fit over the hips and no apparent

opening at the back, front, or sides. The underskirt must follow the same general lines, and therefore is no longer a simple garment to make. The tight dress skirt forbids much garniture, moreover, in the way of fluffy ruffles, and the shape is the principal thing. This follows the general lines of the gown in front and at the sides; but well below the knees there may be just as many ruffles as you please. This gives a nice set to the dragging train. BEAUTY OF THE THROAT. It is quite certain that the cult of the throat should be added to that of the other charms Beauty takes very good care shall be enhanced by scientific aid for the furtherence of her triumphs during the season. We are going to wear very low evening dresses, so that not only the neck but the shoulders will be visible items; and in the daytime the prettily throated will take a pleasure in unlined lace collars; careless little things that draw attention to the rounded whiteness of the pillar that supports the head.

THE REIGN OF THE GAUZE. THE MOST FAVOURED MATERIALS ARE THE LEAST SUBSTANTIAL. Even the new jupons are of muslin — very fine and white, beautifully insertioned, and mounted over coloured glace silks. Mousseline de soie, made over soft, unstiffened satin, is one of the best materials for tea gowns at the present moment, and the mode of making them in every case seems to be inexplicable. In the hand the robe apparently has no shape at all, but when on, what with soft sashes, crush belts, jewelled girdles, and no end of ribbon bows, it clings to the figure in the most graceful fashion. The more diaphanous such gowns are the more fashionable. For a tall, graceful woman nothing could be more excellent than a tea gown of Orient satin, in the ivory tint so becoming alike to dark and fair complexions. NEWEST FOOTGEAR. A long time ago I described the revival of coloured shoes for cyclists. The shop windows are now filled with them, which is a sign that they are now being excessively worn. I have noticed several in prune colour and some in a rich lizard green, which, worn with stockings of the same colour, are full of most decided attractions. The large buckled shoe is coming into fashion ag'ain. You may meet it in two forms—one with the buckle simply clasping the patent leather flap, in another with a lace flap mounted upon patent leather, which is the very latest and most beautiful idea anyone could have. Evening slippers are being embroidered delicately with paillettes. A white one has a little crystal button in the centre, from which radiates crystal paillettes that sparkle and look charmingly pretty on the foot. Another alluring shoe is alack, slashed up the instep, and buttoned either with crystal or little je: buttons. For the season, gold and silver tissue is being converted into charming little shoes. THE FINISHING TOUCH. Have you noticed how cleverly French dressmakers give a gown a smart touch by means of a big bow popped on anywhere? A happy touch on low bodices is a great flat looped bow arranged in the centre of the decolletage in front or at one side. This bow may be of any material, although black velvet is considered most chic. The flat looped bow is also appearing on many of the elaborate robes de unit made for wedding trousseaux, and is an exceedingly smart addition. On blouses for house wear it comes in well if fashioned of mousseline de soie or gauze.