Fashion Notes from Paris.

New Zealand Graphic, Volume XLVIII, Issue 4, 24 July 1912, Page 70

Fashion Notes from Paris.

(By a Parisian Expert.) e are likely to be extinguished by our hats. Something must be done, or we shall become even as mushrooms. The individual is withering, while the hat grows more and more. The Israelite of old sat under his vine and his fig-tree; the smart woman of to-day sits under a bower of roses, when it is not a wigwam of feathers. What with her hat and her ruffle, there is very little indeed of lovely woman to be seen. Herein is salvation. She will never be satisfied thus to hide, the-light of her countenance under a bushel, or what practically amounts, in many vases, to a-tent. For the large hat woman has ever had a weakness. The more she can pile on her head, the happier it seems to make her. Hut she likes to be Seen,'and-it is rapidly becoming impossible to see what anyone is like tinder tire new headgear. It. is very absurd, when one comes to think of it, that- women sltould-want to make their heads look five times iltpir size when they are out of doors. Why are they not eager to put on huge shoes, or wear coats three sizes too large? But millinery at the .present moment gives ample scope for the elever combination of two neutral shades. The ribbonfrimmel hat is still-a great favourite, especially in legal straw, broad brimmed and shady. Trimmed with huge bows of pearl and steel-grey ribbon, these hats are really -artistic. The nrauve. and violet hat is also worn trimmed with ribbon. as also the huge black hat with white ribbon bows. Then bows are arranged on the top of the calotte in jaunty fashion, or are massed behind over the back. fine of the big Paris houses was recently showing quite a large coll-A ion of pale flowers, so pale as to be almost

white, which was the first time they had been seen in any quantity. A few exclusive places in the Rue de la Paix used delicately-tinted flowers in the midst of lace or chiffon, or even with the taffeta ribbon bows on millinery, but this week was the first time a general house produced them in large quantities. This looks as though the fashion of a ribbon, or lace-trimmed hat, with one single delicately-tinted rose nestling amongst the ribbon or lace, will shortly become general. Modes a la Mode. Evening gowns just now arc occupying the attention of the authorities to a great extent, and some beautiful examples of evening dresses are bn view in the salons of the best dressmakers. Nothing more beautiful for evening wear than the gold and silver woven laine tissues can be imagined—the material best suited to the sheath-like garments underlying the skilful veiling which constitutes the charm of the evening dress of to-day. These gowns call forth ropes of pearls, applications of embroidery, and cobwebs of lace, and in their arrangement the art of the dressmaker lies. A frock of pale shell-pink crepe de chine, with the jupe edged with a trellis work of crystals bordered with icicle fringe, is unmistakably French. This is a fascinating little exponent of the Empire period, perfectly simple in style and made with a very high waist-line, which is outlined with a tiny cording of the material, into which both the corsage and the skirt are gauged. The decolletage is cut square, and’ to accentuate this there is a serried row of large Roman pearls, the short sleeves being similarly treated. To accompany the gown, there is a wrap of pale pink chiffon with a hem of guipure lace, flanked with the crystal lattice work, which is repeated down the front, round the neck, and round the wide kimono sleeves. The mingling of styles and diversity of inodes chez les grands couturiers recall the delicate fashions of the eighteenth century, with their fichus, jabots, changeable silks, frills and draperies. Sleeves are an all-important point. They are three-quarter, bellshaped, slashed, frilled, and even slightly puffed, side by side with a long, closefitting, minus shoulder sleeves, buttoned sleeve. Our Sketch.

The clinging, almost collant. model of our sketch this week is an evening gown

in crepe de chine. As I have already said, drapery is the keynote of the Season’s fashions, and this gown is a charming illustration of the faet. In a fascinating shade of deep crimson—just the colour for a pretty blonde or a dark brunette—the tunic is swathed roirnd the figure, wraps over at the side, and fastens with a glittering past buckle in a shade to match the colour of the frock, the bugle fringe, with which one side of the corsage and the sleeves are trimmed, being also of the same colour. The other side of the corsage is adorned with tiny silk-covered buttons, and the iiem of the skirt is finished with a silk fringe. The tout ensemble is decidedly charming.