The World of Fashion.

New Zealand Graphic, Volume XLIII, Issue 23, 8 December 1909, Page 69

The World of Fashion.

By

MARGUERITE.

x< \UT they lock like evening dresses,” ■ remarked a dowager who was k (present at a very select and private view of a number of lovely models, from which a ’beauty was choosing her froeks for the races. And she was right. The flesh-coloured guimpe given to a filmy mousseline gown, scarcely visible when the gown was on,

and the decoration of flowers, yes —actual garlands of flowers—great heaping ropes of roses disposed upon the skirt of a gauze model, differentiated the toilettes in only the slightest measure from the full-dress evening robe. The display of gowns, that might have graced a Iball-room, had they not been worn (with a filmy coat or Henry HI. hanging

mantle, was phenomenal, and everyone remarked upon their extraordinary and varied beauty. EVENING FROCKS OUT-OF-DOORS. Not that there is any ostentatious display about the new gowns; in many instances, indeed, there is a fallacious appearance of restraint. Nevertheless, the trained eye soon catches sight of items that are the hall-mark of the ciever dressmaker and of novelties that are extraordinarily fascinating. One modiste, whose natural instinct for art is well-known, and who is wisely adhering to quiet colours, is using pearl

grey foulard patterned with Copenhagen blue. Blue is certainly her favourite choice, and she is using it in every shade, with embroideries to match, and where it is effective with bold touches of darning stitch wrought in gold. One of the most fascinating of her frocks had a blouse corsage of water blue gauze veiling an under-bodice of ■white mousseline, with broad silver stripes upon it. *the effect is absolutely charming, reticent, elegant, and original. Tlie waist-line even in her designs, and she has 'been a loyal adherent to the Empire gown, is creeping down, and some of the models she is using have a plain panel in the centre of the dress and a girdle that meets the panel upon either side. Many of the great dressmakers are coquetting with the pannier, and others are tentatively introducing flounces of various widths—so with these lures before them; lures from which women are rarely able to escape—it is likely that the severity of the Merovingian model will receive a decided check. The new pannier does not necessarily make its appearance upon both hips; its characteristics may (be merger! in those of a tunic, as will be seen if one of the dresses illustrated on this page Ibe critically considered.

FLOUNCES REINSTATED. There we have a frock of delicate and cool looking green and white foulard, with a pannier tunic draped from the green satin ribbon belt at one side and taken to the back, where it ends in a long and elegant “Hot.” A flounce is suggested above the foot of the skirt by the introduction of bouillonnees of pale green gauze, and with its usual manifestation of oddity a sash appears, draped low down upon the skirt, and made of green satin to match the 'waist and sleeve deeo nations. In another ease a model is sketched in order tliat the reappearance of the flounce may be demonstrated. Here we have a toilette made of mulberry-coloured or-

gandy muslin upon a lemon-tinted background, the skirt of which is arranged with deep flounces at the hem and a tunic that falls almost like a flounce from a waist belt of embroidered lemon cambric. The corsage is daintily draped with muslin, and the sleeves display a new and rather patchwork-like fashion of using embroidered cambric and muslin together; in this case with three frills drooping from the shoulder line. A famous couturier who is pinning his faith to the Merovingian toilette, the corsage of which outlines the figure and gives the waist its natural proportions, is going to send out with his very distinctive dresses lovely chiffon cloaks slightly weighted at the edge with jet, gold, or silver embroideries. In some instances the whole of the coat is a mass of embroidery, so that a pin could scarcely be passed between the sparkling jet tubes and beads, each one of which has been stitched by hand to its filmy background" of gauze. One of the new frocks portrayed above is developed in bleu de nuit cashmere de eoie, with four big turquoise matrix ornaments at the waist and a corsage and sleeves embroidered in shimmering pale blue silk with emerald green intermingled and silver and diamante effects. The back looks exactly the same as the front, which is another of the quaint conceits of the present mode of dress. Mousseline de soie is sure of a victory; it is so light and charming in appearance. We see it on this page in a 'lovely purple shade, worn with a delicate fawn coat, caught up at one side to resemble a pannier draipery, and edged with a delicate tracery of jet. This is the oddest and most daring of ideas, but how effective! THE DISAPPEARING COLLAR. In addition to the fashion that 'helps to make the debutantes of to-day very childish in their looks—namely, the elimination of the small waist measurement—there is another that assists towards that end. It is the collarless corsage, .which looks incomparably (charming on the throat that is white and round and young, and alrio delightfully juvenile. Moreover,

it is very comfortable, and t hat is much, for although we .may not actually live ■the simple life, we make the cult an excuse for a great deal of ease. The old proverb, "Pride must abide,” which Ln

Showing the new polonaise, the long coat, a chiffon fr< k with ar. eeeentria •ash, and novelties in millinery made of panne and lace trimmed wit* chanticleer plumage.

«he days- of curl paper* and tightly fitting otetihen was often mentioned in the hearing of their charges ‘by exasperating nurses, has few chances of adorning the conversation of the handmaidens of to-day. Wte is all-coniqucr’.r*g every summer, there is every chance of another

victory this season. As for the decorations that are being lavished on the pretty frocks, there seems to be but one word for them, and that is embroidery in eord, fiboflorw, sparkling little crystal chips, and bullion wire. The linen frocks are wrought with Btitehery in white upon a white ground, and even mere fancifully in colour upon white, while light traceries of iblacs are deemed extremely smart. But upon the

corn and green and blue and brown tussores and .linens nothing looks better than embroidery to match. There is always one novelty in millinery that pushes its way to the front and dominates all other models, and at this moment it is the craze for black and white that is all-pervading in the smart

establishments. The white must be pure and assertive, which it can easily be made to ‘be, if roses or tulips are represented in pin-spotted muslin, and the blank must be dense. A change is approaching in the silhouette of dress, and one that cannot be seen without surprise, for it certainly enters the arena as a rival to the straight up-and-down appearance of which woiueu have been for so long en-

PRETTY HATS. White linen trimmed with green; the crown trimmed with flowers and tulle.

amoured, that the dressmakers have despaired bf altering it. Calling to their aid the gauged effects that used to be so popular, the dressmakers are devising very fascinating frocks in which those allurements play a part. A gown of suede grey chiffon illustrates the new vogue. It has a corsage designed in the moyen age style with a large plaque below the full chemisette. The soft material is carried to the waist, where it is deeply gauged to clasp the body, and then proceeds to the hips, where it is gauged again, the chiffon falling in soft folds from that point. CHA NTIK'LEER PLUM AG E. Heavy lace is also employed to cover a hat sha.pe or to make a big bow, and cretonne, too, is well liked. A favourite plumage adornment is obtained by using cock’s feathers in masses. I show one lovely hat, as light and vaporous looking as a soap bubble, made of shaded tulle, in colouring mother of pearl, deepening to crimson of the new shade known as rhododendron. Eccentricities are expected in these days of competition for toilettes of striking characteristics, and among the galaxy of wonders made, a blaek satin coat that is a complete cover-all for the fragile white frock that is to be its accompaniment may be said to answer the description uncommon. Now, there is nothing bizarre about a long coat, even when it so long as to touch the ground, but this new version of the genus is peculiar, inasmuch as the collar that completes it sweeps across the front and does not end very far above t.he hem, while below its termination three enormous buttons appear, jet ones, surrounded by a pleated satin ruffle. Such a coat will be observed, the centre sketch 'in the trio of toilettes illustrated on this page. An echo of the polonaise of other days forms the subject of another pictorial presentment, and introduces the flower dye oleander, a lovely pink, into the chronicle of fresh delights. The polonaise looks like a sleeveless coat, and is made of crepe Sappho. Decorated with black satin lapels, ornamental paste buttons, and a little lace Vandyke collar, it is a fascinating addition to a frock of cloud grey chiffon embroidered in tablier form with platinum threads. The lace cuffs of the ruckled grey sleeves match the collar and the hat, the brim of which is turned up ■with black satin, while rose-tinted chanticleer plumage waves aloft. THE CAREER OF A SASH. Of the sash’s whimsicalities, there is often need to write, nor are they apparently to be curtailed at present. I have a very elegant frock to describe (its portrait is to be seen in the trio sketch) made of lovely water-blue chiffon embroidered with corn-cockles, ragged robin, and bio wa ways in their natural hues. > The over-dress suggests a shawl in treatment so arranged that the emLroidcred edges appear at one side of

the corsage, back and front, and on the dropping epaulette sleeves. But now to describe the career of the sash. Beginning with a rosette low down upon the skirt where the tunic is lifted, it is carried, beneath the draperies and the skirt to the waist, where it is obliging enough to provide a girdle halfway round the body only, finishing in front with another rosette and a single long end. It is Prussian blue panne that is chosen for the sash, and that accounts also for the hat, which repeats the floral treasures already mentioned in connection with the tunic embroidery scheme.