THE WORLD OF FASHION.

New Zealand Graphic, Volume XXVII, Issue III, 20 July 1901, Page 140

THE WORLD OF FASHION.

(BY

MARGUERITE.)

Theatre cloaks are interesting garments at the moment, and those who cannot afford sable or chinchilla, take cloaks of grace from black satin or light-coloured velveteen—the latter being particularly successful in biscuit tone, lined with ivory satin, much frilled with lace and chiffon. However, velveteen is more pleasing to look upon than it is to wear when moving into your seat. The great virtue of the theatre cloak should lie, firstly, in its becomingness; secondly, in its convenience. It should be easy to take off and to put on, and the vice to be avoided in its selection is the cumbersome. Very lovely are the new opera cloaks or theatre mantles, as they are usually termed now. An old and favourite silk, gros grain to wit. is being used again, and one of a soft mouse colour shade was made to completely cover the gown after the manner of many years ago. when al! evening wraps were of this voluminous type. Round the shoulders came a deep cape composed of long straight

ropes of thick chenille, and the high but very closely-fitting collar was made of frayed silk closely pleated in ruche form.

In a second case pearl grey gros grain was taken and powdered with chenille Howers embroidered by hand in big clumps. It was only a little cape that just reached the waist, and was there billowed with goffered tulle of a deep rose pink shade sandwiched between layers of pearl grey.

Despite the popularity of the sleeved eoat. I find a great number of our fashionables are still ordering a sleeveless garment, and the spadeshape seems the most popular. It defines the shoulders very simply, but after passing the waist line flows out into a wondrous width. The latest manner is to trim the cloak very extensively all over instead of to concentrate the ornamentation upon the shoulders or flounces in the old manner. One of the most charming ideas is to veil satin with gauze and to cover the gauze with tufts of

gold and flowers. A sumptuous and warmer coat may be made of very pale biscuit-coloured cloth with great applications of velvet set upon it embroidered with gold, silver, crystal, and coloured gems. 1 notice that the latest models taken are floral instead of conventional ones, and that direct contrasts are used. For instance, upon a cinder-coloured background you will find applications of crimson velvet, while upon a mush-room-coloured foundation, royal blue and cerise make beautiful results.

They tell me that all the big coat and cape collars that are made are intended to be worn turned down instead of up—a sop, of course, to the posticheurs who are at present dressing their customer's tresses quite low down in the nape of the neck, in chignon form.

In Paris transparent evening cloaks are a positive rage. Cold and_ comfortless, you say? No; for the dress worn beneath is of velvet, and the idea is that it shall provide warmth ana

show through the cloak. A charming thought, is it not? There is a perfect furore for flowers in the evening—l mean the best artificial ones. They are being brought out in such wonderful tints, and in such delightful mixtures of velvet and silk, that they look quite real. In Paris they are wearing ethereal fabrics in the evening, and these are generally trimmed with exquisite embroideries, consisting of designs in coloured taffeta, studded here and there with paillettes. For ball dresses, chiffon and tulle roses are the rage, and these are sometimes arranged as a border to the skirt, which is of chiffon, mousseline de soie, crepe de chine, or soie de chine, the latter being a new kind of rather heavy crepe. Surely Dame Fashion never studies the question of expenditure, for the long skirts of to-day are subject to utter destruction in the ballroom. Evening skirts, even for dancing, are worn longer than ever. Their only amelioration lies in the multifar-

ious flounces with which these long skirts are bordered from a little below the knee to the hem, inside and out, and these keep the skirt out from the feet and prevent utter destruction.

For really smart occasions there is nothing prettier than a ball gown composed entirely of tulle. At its best this style of frock should be finely tucked from the waist to just below the knee, where the many flounces already referred to should commence. A delightful and quite incongruous trimming to a ball-gown is three narrow edgings of mink alternating with insertions of lace. Simplicity itself is the corsage designed to be worn with this skirt. There is a band of jewelled embroidery round the top of the bodice, and below that it is composed of finely tucked tulle like the upper part of the skirt, and the elbow sleeves are tucked to match. For dinner gowns silk gauzes of bold desig-ns, hand-painted chiffon and such-like evanescent gossamers will hold their own with satins and brocades; indeed, the latter are only possible when of Marie Antoinette design. The Empire effect for evening gowns and opera cloaks has by no means left us, and always in keeping with this style is the lace bolero whose merits I have already extolled. It is a common mistake to think that the Empire gown of to-day in any way spoils or conceals the figure, anil the woman who rashly discards her corsets when wearing one will fail to get the desired effect of grace. When you want to discard your corsets let it be for your dressing-gown only—the properly constructed Empire frock or tea-gown will no more stand trifling with than will a dress with a boned bodice, or a blouse, for the matter of that. ® © ® The increasing sharpness and coldness makes one think of warm wraps, and so this week I am catering for the wants of girls from 10 to 12 years of age in this respect, and I hope that mothers will like the pattern selected, as it is smart, simple and useful. As for materials, there are a great many to choose from, while serge and any of the waterproofed cloths would make up admirably, in either navy, or gendarme blue, or brown, which is perhaps most serviceable of all, as it wears well, and goes with most things. The collar and cuffs may be of light or scarlet cloth, as preferred, trimmed with braid. If the former be selected.

1 would suggest merely tacking the facing on to the collar and cuffs, so that this can easily be removed and renewed, as the long hair often soon soils the back of the collar. The coat will take 14 yards of 54in.

doth, and about half-a-yard of lighter for collar and cuffs, as well as 5J yards of black braid.

The back is shaped slightly by the seam in the centre, which being curved, obviates the necessity of side- 1 pieces, while plain sacque backs have a tendency to wrinkle at the waist, part.

The coat will require lining, unless made in thick cloth, and for this purpose Italian cloth or Roman satin will be the most useful.

The fronts will require a facing several inches in width, cut to the same shape as the pattern, and if the coat be not lined the edges of this will require binding. If lined, this must be joined and made up separately, and the seams of both will require notching, opening, and well pressing with a warm iron.

A pretty sailor blouse that comes in sizes fourteen and sixty and thirtysix and thirty-eight bust is the

“Rozel.” It fits plain at the back with under-arm forms, the front drooping in a blouse at the belt. The open neck is finished with a narrow collar that terminates at the shoulders. A 4rted lining is given on which is faced the chemisette. The new one-piece shirt sleeve is used. This design, if made

KOZEL BLOUSE. ADAIR SKIRT. with a lining', is -suitable for the new closed-front waist. This should be finished without any opening, except the neck, and is put on over- the head, a separate chemisette being worn with it. An elastic or draw-string is run in at the waistline. The Rozel mode is of the new plaid flannel, made without a lining and worn with a white corduroy chemisette. The tie and belt are of black velvet.