THE WORLD OF FASHION.

New Zealand Graphic, Volume XXX, Issue XVII, 25 April 1903, Page 1190

THE WORLD OF FASHION.

(By

MARGUERITE.)

Precisely how the ease stands, whether the milliners wait upon the decision of the hairdressers or the hairdressers upon that of the milliners is a matter

of some uncertainty; but that very much reciprocity exists between the two arbiters of fate is quite sure. Therefore, it is as well to inquire into the latest mode ot hairdressing before proceeding to discover the trend that millinery is likely to take.

In Paris at this present moment there is a very distinct leaning towards the abandonment of the low coiffure. The smartest women, whose coiffures are always well in advance of the times, are having their hair fluffed by means of electric brushing, but not in the smallest degree waved. It is all brought up to the crown of tne head a la Chinoise, but not in the slightest degree pain fully strained—on the contrary, left in loose masses, and there dressed in little curls and airy twists fastened by means of tortoiseshell prongs, and even by ivory combs, which look odd, especially in brunette tresses, though most DECIDEDLY SMART. There is undoubtedly in one or two particulars an air of complete novelty about this coiffure. One misses immediately both the so long prevalent ondulee and the fringe, or pretence of a fringe, that has marked ti e mode for many a year past Englishwomen, who have only just realised the eharms of the low dressing, will be disposed to think the times scarcely ripe for a revulsion to the old mode yet, and, indeed, unless they desire to be well in advance of every one else, they need not give up either their waved tresses or the Regency curl that drapes their brow.

But they had better not accentuate either if they would march closely after Fashion, though not abreast with her. It is very significant of the declining

favour shown to the ondulee that the smartest makers of transformations in London are building their wigs either quite without or with only the merest suspicion of a wave in the hair they use.

Under these circumstances it is in one way odd, though not in another, that the milliners should be devising the most abrupt and decided uplifting of the brims of many of their new creations —odd because the effect produced reveals so plainly tne straightened tresses, but not strange considering the natural desire every pretty woman feels to exhibit to all eyes a new departure in hairdressing. Above soft and girlish features nothing can be more charming than the coiffure a la Chinoise and the plateau hat with its well-raised brim. The features are refined by it and yet to the full answer the challenge of undoubtedly trying conditions by asserting the roundness and charm of their you Th. disappeared, but is now being ushered should cause their owners to seek som: means of SOFTENING THE HARD OU 1 LINE of millinery like this. To their rescue conies the lace curtain which was a few seasons ago very much in deman 1, then disappeared, but it now being ushere 1 again into prominence. Not only are lace scarves turned to account as draperies upon the hat’s brim, but they are tied at the back, and are then allowed to flow almost to the waist. Bhrek luce Ss more use 1 than white and cream, and black tulle appears embroidered with seed pearls. Moreover, straw traceries upon gauze are pressed into the milliners’ service. There is more than a little subtlety of effect attempted by the flowing 'lace veil, which certainly emphasises the drooping line of the shoulders and the picturesque blurred curves of the mod ern gown.

But now let a few- definite descrip tions of important efforts of early win ter millinery be recounted. In a window full of exotic models a London milliner had the temerity to show recently just one hat with a decided crown. It was placed in a modest position somewhat in the background, as if to a certain extent dubious as to the impression it would create. Yet, dainty as if was. for it was made of stiffened cream lace bound with blaek velvet round the brim and softly plumed, its aspect was pert and overbearing, and from it the feminine critics who commented upon the show, W’ith a few words of contemptuous toleration, as of something likely to try to arrive but not ’ et at all sure of a welcome, sheered away to shower encomiums upon the flat turbans and plateau hats that domi’-ated .he exhibition. Yet those flat turbans are r.ot so flat as their predecessors were, and those crowns will come. There is a Rem brandt model being made that is half turban, half crowned hat, the most pi ■- turesque of ideas, with its velvet drap erv and its beautiful ostrich plumes, and it is the steppin" stone betwee i the two opposed styles. ® ® ®

A GREY PROMENADE PELISSE TRIMMED WITH GUNMETAL BUTTONS.

For buttons the furore increases. And of what curious materials are they made! If one is to believe all one hears, the homely potato compressed into a hard substance is served up in the sewing of many a gown. The chenille ones are artistic, and the little silk thread specimens are very smart and can be used in great numbers unabtrusively. ror it must be remembered that though buttons abound they are expected to do so with becoming modesty, making their

undoubted effect in subtle, clever ways. There is great charm observable in the toilet of this column, one of pavement grey doth, with gun - metal buttons, which figure on all the straps that embellish the dress, and in double rows round the yoke. Note the drooping shoulder effect produced by the yoke, and treasure the remembrance of it for an autumn suit. ® ® ® A REVIVAL OF PLEATED SKIRTS IS ASSURED. The changes are now being rung upon that exclusive model, exclusive because it suits only the slim, the hip-yoke skirt. It is being stitched and strapped, gathered, battlemented, embroiderel, and gemmed, according to the requirements of the toilette on which it is or-d-ined to appear; and what is more, it is being elongated or extended, as the sketched example of this column port.ays it, into a stole-panel, which forms a distinctly clever ■ decoration for the front of a skirt. How to finish the edges of the hip-yoke and stole with becoming emphasis, both as to firmness and beauty, may puzzle the home dress maker. Hence a moment’s contemplation of the manner in which the. difficulty is overcome in the pictured case is recommended. Scallops, it will be acknowledged, are the simplest possible solution of the question, requiring as they do less geometrical precision than the Greek key and battlement methods. They should be piped with velvet or cloth of the same or a variant of the colour that is used for the gown, and should be firmly stitehed down to the pleated part of the skirt. Citron, almond, and watercress green are eharming autumn colours, and there is much merit in the browns, provided cney are examples of those attractive shades of coffee-cream, nut, and pale tobacco.

Though pinafore days have long been left behind some at least of us cam?..': dispense altogether with pinafores on all occasions. The girl who takes up art, either professionally or only as a pastime, is bound to provide herself with something that will cover her dress entirely, and save it from such stains and streaks of paint as are inevitable in the studio, and it is for the artist in particular, though not solely, that the accompanying sketch has been made. The overall is made exactly on tjje lines of a child’s pinafore, fastening behind, and reaching almost to the bottom of the dress; the sleeves are of bishop shape, but not so full as now usually worn in dresses or blouses, as the fulness would only be liable to dabble on palette or paint box, and might even spoil a picture. For the same reason the wrist bands are somewhat deep, so that the hand and wrist may be quite free. The shaped band which finishes the neck, and the pretty shoulder frill set into it redeems the overall "rom ugliness, and the addition of a waist belt to draw in the fulness to the figure is also a great improvement on the style sometimes

seen. A pocket put on from the outside is a useful adjunct, as of course that in the dress itself is completely covered.

Millinery is very charming even now. and this season will see some of the most charming models ever displayed for our ruination. The pretty hat sketched is not, however, of a costly nature, although it is distinguished by its smartness. The hat is of straw, the edge of the brim being coloured a pale green. The crown is low and fiat, and the brim which curves up from the face is trimmed inside with a bird in whose plumage white and an irridescent greenish black with a hint of blue in it are intermingled as in that of the magpie. A bow of bright green mirror velvet rests on the hair. There is a slight twist of good patterned lace of a soft tone of cream draped round the crown forming its sole trimming. There is something very smart looking about this style of hat with its upturned brim, and I expect we shall see it in many cnarming forms trimmed with different tones of tulle intermingled or wreathed with flowers of the small blossomed variety The perfectly flat toque or hat (as either name is equally applicable) with a stiff military aigrette arranged slightly to one side is also much in vogue and is to be seen made entirely of pale toned net or chiffon, or in some instances entirety of small flowers, particularly violets. They are very becoming and certainly chic.

This fig. deals with marked features in evening wear just now, having the Victorian berthe of lace cut off the shoulders, over which falls the floral fringe which is so charmingly employed on so many dainty gowns. The bodice is of accordionea chiffon, and the

sleeves—of lace with the skirt—are of the newest evening vogue, that is, transparent, long, and opening on the top from the elbow downwards to show the arm. A big chou and ends of chiffon finish the bodice.