NOVEL DRESS NOTES

New Zealand Times, Volume XXXVII, Issue 8339, 28 January 1913, Page 5

NOVEL DRESS NOTES

"Queen Bee" in the '‘Australasian” gives some interesting notes culled from many sources on present and future fashions. She says: “After all, soft brocades are not to be tbe only ones in vogue, for the coming season’s evening gowns, both British and foreign silk manufacturers are turning out Bilks that are revivals of the olden days, when a lifetime was considered only part of the existence of a gown, that was frequently handed down fJbm generation to generation. All the long forgotten beautiful shades of colour are displayed in them in combination with the designs associated with the good old days. Many have the upper part of plain satin, and a woven floral border so ner-

feet in manufacture that it has all the appearance of an exquisite hand embroidery. A favourite achievement in these border brocades is to have the plain part in ona or other of the rich yellows of the time, the border taking the form of open single petalled roses, wrought in silver and gold. Another design highly in favour is what is known as the great-great-grandmother's border of lilac, in all its exquisite mauve, purple, and wino tones, relieved with white and silver. Presently a few fortunate ones will be able to possess one or other of these magnificent silks, and then the aspect of our gatherings will begin to return to some of the old-fashioned ideas pertaining to the time when they were worn, and scanty clothing was farthest from the thoughts of women. History is supplying many notions in collars. Catherine do Medici's picturesque style is now seen on all manner of coats, but with modification. Blouses, one-picoe droeees, and vests are finished with Beau Brummies stock and collar. Then there is a revival of the tulle stock seen about Napoleon’s time, headed by a high, closely-set kilting of the tulle. As far as the latter two modes are concerned, they are both chokers in the extreme, and as far as Beau Brummel’s masculine stock is concerned, there is a great deal of discomfort in store for someone, for we all are well aware he could never have possibly turned his head one way or the other, so high and upright was the whole affair from collar to the swathed stock. The replica of the collar is more often than not of hemstitched lawn, with stock of black satin, crepe de chine, or taffeta. In other instances, it is of the same material as tho garment that it is part of, the stock in some cases of either of the three materials mentioned, but matching the collar in colour. Tho _ Robespierre collar and double frill, as far as we are concerned, is as yet in its infancy. The coming autumn and winter should see it at its height, as far as popularity is concerned. Abroad its high favour is attributed to its becomingness, and its present attractive characteristic is that it is extended to al Ikinds of material, be sides lawn, muslin, lace, net, crepe de chine, and such like fabrics. It is said almost every blouse is now made with a Robespierre collar, and that every blouse —no matter what tho style may be—is fashioned of crepo de chine. A _ further word with regard to the Medici model is necessary to afford some better idea of what it is in its guise of to-day. The standing collar itself is a semi or much modified idea of the real thing. Generally of satin, it is wired at the edges, and rolled over to suggest tho historic effect A great many are bordered with a narrow gimp of ostrich feather, black finishes white, and white is seen on black.

Among little eccentricities, foremost is the now popular fashion of wearing a bracelet on one arm only. But, after all, it is not so foolish as it appears, for its purpose is to carry the train of one’s dress, instead of the customary way in the hand. This bracelet is worn on the left wrist, or above the elbow, according to choice. li'rom the bracelet dangles a strong clasp that is passed through a small loop attached underneutli to the extreme point of the train. Its object is to leave the hands free, and to clear the way in a crowd of the now absurd bits of stuff that go by the name of "trains," but are really objects of danger where many people are congregated, owing to their habit of getting twined in other people’s feet, to say nothing of the wearer’s. But even more out of the common, minus any usefulness, is the mannish or trousers skirt. This most masculine-looking article is straight and narrow, and hangs from an invisible belt. There are seams on either side, and pockets placed forward enough on each hip to suggest those in men’s trousers. And to still further carry out the idea, a strap and buckle is attached to the back, just below the waistline. It is an exact dujjlicate of the strap on trousers, and gathers in the fullness in exactly the same way. The portion above the strap is cut on the same lines as the top of the mannish garment, and to heighten the effect buttons are placed on the tojj of the skirt to match the bracer butto.as on trousers. Such a skirt for wear with blouses can be accompanied by a coat exactly tike a man’s long-tailed cutaway, and the edges are hound, with braid, while on one lapel is a buttonhole, in which is generally worn a single velvet or silk flower. Whether this fashion will survive loug enough -to reach ua ia a matter for. conjecture.