The World of Fashion.

New Zealand Graphic, Volume XLV, Issue 17, 26 April 1911, Page 69

The World of Fashion.

By

MARGUERITE.

New Fashions. STRAIGHT TIWTCS LIKE A CHOIR BOYS’ DRESS. VELVET AND MOIRE POPULAR. TUNICS rounded at the throat and falling in straight lines to the knees are among the newest fashion ideas approved by Madame la Mode. Tliese tunics, in transparent materials such as mousseline de soie, ninon, ehiffon, etc., are perfectly cut, and finished with loose sleeves to the elbows tout in one with the rest of the bodice. A deep insertion of heavily embroidered Hoss silk worked in floral or conventional design borders the tunic at the knees, and insertion of narrower width finishes the sleeves and outlines the rounded collarless neck. Wooden beads on fine net are also used for this purpose, as well as handsome laee. A model from Paris on view recently illustrates the choir-boy tunic with wooden bead trimming, Dark purple satin is used for the foundation of the dress, and the tunic is in

Worn at the Criterion Theatre, London. The little Dutch bonnet in old lace was worn by Miss Latimer, with a shaded green and blue dress made in Quaker style. The dress is worn by Miss Latimer in the last act. Made of snowwhite ehiffon over white satin, there is a fringe of white silk on the skirt veiling, which is split at the side to the waist-line. The little coatee, which is cut square and split up the centre ba.-k •nd front and finished at the waist with * plain little basque, is in pale blue satin. The band on the skirt under the veiling is of the same satin, and the lose at the waist is in shades of mauve.

black ehiffon, bordered with black beaded insertion intermixed with threads of purple silk. The heads are fastened in rows on fine black net, and the purple threads are used in a Greek key tracery effect which is very quart nt. The pleats of the tunic fgll from the neek to the hem, whkh comes welt below the knees, and the band of the beaded embroidery at the neck continues in a straight line half-way down the front of the earsage where it ends in a point.

TUNICS BELTED AT THE WAIST. Some of these tunics are belted in at the waist with folds of satin. A white mousseline de soie design, for instance, with a deep insertion of heavy white floss silk worked in on open-rose pattern, is eaught in at the waist with deep folds of satin. This belt is so deep that it runs from the deeolletage to the waistline and it is swathed softly to the figure, a large ehoux of the satliu finishing the belt at the side. The under-dress of satin eharmeu-e is hemmed with the embroidery. The skirt is cut quite straight from the waistline, a few gathers bringing it to the figure under the tunic. The sleeves are loose, and only reach to the elbow, where they are outlined with a narrow band of the embroidery. The neek of this dainty confection is also collarless, a small yoke of white Chantilly lace cut in a round effect and veiled with the mousseline giving a pretty finish above the tunic. A line of silver threads finishes the lace at the base of the throat. EGYPTIAN DRESS TRIMMINGS. Embroideries in Egyptian colourings are being used on dresses of satin eharmeuse, cachemlire de soie, and fine faced cloth. These embroideries are used in motif effects inset on the corsage of the dress and on the skirt as well. The motifs are of silk, net, etc., and the Egyptian embroideries are worked all over the silk or net, lines of metallic thread being used as a finish. The motifs vary in shape. Some are cut tin the shape of leaves. Some are oval, others square or round, and so on. A narrow frill of Valenciennes laee edging, dyed to match the dress material, covers the joining line where the motif is inset. There is a tendency at the moment to trim coats of serge or cloth with Oriental coloured cotton-crape. These trimmings take the form, of course, of rever, collar, and cuff facings. The predominating colouring of the eottoncrape deslign repeats the colouring of the coat and skirt material, but the foundation is white. The between-season fashions often indicate the trend of the coming modes. Skirts are the chief topic of interest at the moment, and just what will be worn in the winter is difficult to say until the new styles develop. However, it (is safe to predict tha£ the “hobble” or “mummy” skirt will have no place in the new modes. Indeed, its death-knell was rung several months ago, and it is very doubtful whether it ever was a fashion at all. Certainly it was never worn by the welldressed woman. There has been no scantiness in the skirt worn by the woman who knows how to dress in perfect taste. The skirt has been cut so that it fell in clinging lines round the ankles; its tightness has been merely an effect, thus maintaining the up-to-date straightness of silhouette. There has been ample width in the hem to give perfect freedom of movement when walking. The walking skirts of the moment mount to a point high above the waistline, they fit closely round the hips, and they are sufficiently short to clear the ground by several inches. COATS TO THE WAIST-LINE. The coat to the waist-line, in bolero shape, is an old friend which comes back to Dame Fashion’s favour for the between seasons. This coat is becoming to most women. In Paris it is being made in all manner of materials, finished at' the waist-line with a tiny frill caught in with heavy silk cord with long tasselled ends. The sleeves are cut in ono with the bodice part, and some of tho designs are open in front in V-shape to the waist-line, with revers and collar cut in one. Pinkish beige cachemire de soie is used iu combination with green and beige shot

taffetas in the make up of a gown with a short coat. The taffetas in used for the narrow hem oh the slightly drape-1 skirt and for the short eoat, while the revers and collar, cut in oue, are of Die eaebemire de soie applied in a frill effect. The hat which accompanies this gown is in green straw, trimmed with beige aigrettes shading to pink.