THE WORLD OF FASHION.

New Zealand Graphic, Volume XXV, Issue XIX, 10 November 1900, Page 900

THE WORLD OF FASHION.

I By

MARHURTITR

WELCOME CHANGES IN FASHIONS FOR MOURNING.

The time has quite gone by that considered mourning simply as a garb of woe. The pioneers of becoming ‘•black” were thought almost wicked when they chose styles and combinations of material that were becoming to them. Before that day to go into mourning apparently signified a desire to make one’s self look as unattractive as possible. Heterogeneous masses of crepe and black material were piled one on top of the other without any regard to beauty whatever, or other qualities of looking well on their future unfortunate wearer. But that attitude is now quite altered. Crepe, which used to be a bugbear to the artistic, is now a material with which to conjure most successfully. The new crepe is so thin and pliable, and has so little stiffness in it, that it will tuck very effectively in diagonal

lines for wide band trimmings. Three folds of it an inch and a half wide and fully four or five inches apart, formed into LARGE DISTINCT SCALLOPS round a skirt, make one mode of trimming, while another is brought about by means of three very wide folds put on straight round, with a narrow space between. Other black skirts have a tablier front of crepe, shaping into a deep circular flounce, which extends all round, and is headed by two narrow folds of crepe. As a binding for the edge of collars and as pipings crepe is again available, and indeed in every way of the greatest assistance in the making of artnow the empty form it used to be. Is there any wonder that during its period of ugliness it should have been donned merely as a matter of duty in many cases, and that under such circumstances the degree of grief felt was magnified, as it eould be most

easily, by the extravagance of crepe and bugle trimming employed? Now that it is so pretty it may be conceded that it was worn really as an expression of feeling. Still, it has its limitations, and requires to be most carefully ordered. The right materials ami the correct trimmings it is absolutely necessary to have, or the result is not successful. Women who know the becoming effect of dressing in the particular shade of colour which harmonises with their complexion are quite conscious of the fact that dull, lustreless black is very trying to any but blonde beauty, and so THE STUDY OF ARTISTIC ELEMENTS is one the importance of which they can easily grasp. There are blacks and blacks. Even so minute a difference as a blue or a brown blaek tells on the complexion. So the choice of material is the first

step towards a successful mourning gown. The use of chiffon and plain fine net for yokes and sleeves, either tueked or gathered, is a charming feature; and then there are so many pretty black passementeries of silk and fine braid, so many fringes and dull and sparkling jet beads that there is any amount of opportunity for variety. Everything depends in mourning upon the grace with which the materials used are draped, and for this reason a new mourning material should be asked for, which has a finish like suede, so close of grain and yet absolutely pliable is it. THE VOGUE FOR WHITE. SOME MODELS LIKELY TO PLAY A PROMINENT PART. The sad necessity for mourning will give white of the utmost purity a special meaning and vogue this summer, for among those who can afford

it its meaning is as clear as that at black. Of course, white gowns for mourning must be absolutely untrimmed, but they will make up for what they lack in elaborate ornamentation in the expensive materials used and the amount of work that is lavished upon them. The tucks are so fine and the number so large that they are almost invisible to the naked eye, and require the minutest care. A favourite fabric for these gowns will be mousseline de soie, with white peau de soie linings. A number of the costumes already being made have groups of tucks running horizontally round the bodices, and these are made slightly full in front, while at the back they are tight. The silk foundations have the neck part cut round, and many are sleeveless, the bare arm showing through the mousseline de soie, arranged in groups of tucks. It is pretty to have the collar tucked, and from it to the waist down the front to let the bodice open over a flat piece of mousseline de soie, tucked at both edges and trimmed with mother-of-pearl or silver buttons arranged in a double row and in groups of three. The skirts are best left quite plain round the hips, save for groups of tucks, and at the hem they end in points and seallops, to which is attached a shaped circular flounce, which lengthens the dress into a short train. Tulle toques, which have been for so long fashionable, are still a great deal worn, especially by mourners, and are very becoming when carried out in black and white. One of these, sent out the other day from a wellknown shop, was composed of black and white tulle, the edge being made entirely of the black over a cloud of white. The black was embroidered with streaks of jet and silver, and two rosettes were placed at the left side, one of white and the other black. Starting from these rosettes were a number of black paradise feathers, which waved down over the side.

Crepe de chine is a lovely fabric for a smart afternoon frock; I know of no better material for this purpose. The tucked skirt has a deep frill coming from the knees and resting on the ground all round, especially at the back,-where it forms a slight train. The tucked bodice is slightly pouched in front a la Russe, though the back is tight-fitting and plain with the ex-

ception of a' few tucks. The bodice is cut away to take in a vest of transparent spotted net, and is finished with a lace fichu. The sleeves are small and tucked, with little lace frills coming over the hands. With this is an accordion-pleated chiffon ruffle, with long ends edged with bebe ribbon.

This pretty Mourning Dress we have selected from our numerous designs chiefly because of its simplicity. We have studied simplicity and taste — and satisfaction we guarantee.

Very delightfully does the picture in this column portray an alpaca gown, the colour cream, with trimmings of white silk embroidery and Tom Thumb velvet ribbon, also pure white. The sleevelets are exquisitely cool. They are called the milkmaid's, because they, look as if carelessly pushed up to leave the wrists bare. ■> ® ®

It is the fashion nowadays for everybody to do something and to look pretty while it is being done. The yachting girl in the sketch has certainly obeyed the edict. She has

equipped herself with a striped flannel gown edged and bound with silk. Marine blue is, of course, the colour to choose with white as an adornment, and for shore wear, at any rate, the hat may be rather more elaborate than for a yacht’s deck.

Lady Randolph Churchill demonstrated her originality by wearing a wedding-dress at her second marriage, not of the conventional grey relegated to widows, but of a lovely shade of blue chiffon adorned with real Cluny lace and a toque to match plumed with ostrich.