IN FASHION'S REALM.

Wairarapa Age, Volume XXV, Issue 10713, 28 August 1913, Page 2

IN FASHION'S REALM.

UP-TO-DATE NOTES ON WHAT TO WEAR.

Millinery trimmings consist of feathers, soft and severe, flowers and ribbons. Everything is at the acme. Then there are orijainents—varied as the designer's art can make them. The season will employ all varieties. Ribbons and those peculiar upright, top-dropping feathers head the procession linking hands with the stately ostrich. As the season develops ' the plume of plumes will assert itself in its usual splendid way. Os-;-preys are in a class by themselves': Frequently we have harrowing tales of the cruelties practised. The mother bird is seized for her ospiey; her nestlings thrown out. I have reason for knowing that the story is untrue. You may always wear an osprey with a clear conscience. As a Paris milliner says: "It is folly to suppose that we would destroy the source of supply. We should do that if we killed off the birds. Herons are bred liko other utility birds, and the industry is pursued with no more inhumanity than that of ostrich farming." Wonderful are the ribbons. Some new opes have lace incet borders, etc. Some of silk have velvet .designs in relief. For turban arrangements we may exploit any of the cihoice oriental effects. Striped ribbons lend themselves to twists and j gwathings. White .and black in combination is again freely used. Also we touch extravagance in the quantity of maline and liko sheer materials which are posed in extra fine models. "As the season advances trimmings will go to the rear. The large hat will bo very large. , Brims will be swathed in sections a-kind of semi-turban offec'u-which must be il ; lustrated to bp understood. Stately plumbs; wi II decorate • elegant ex a mples with' a bacjt setting. The omnipotent rose will lead in floral trimming. Baby wreaths appear on,some of the early shapes, and such may be roses, geraniums, and other kinds. The rustic where the large rose is employed in v negligent though artistio form, is distant, not immediate. The influence of many periods is seen in modish millinery—ideas from this time and that, back, indeed, to the Tudors. The early shapes em- J brace many small "kinds, but as I have 1 said their reign will be brief. The two shade combination in attire generally will be reflected in its most important accessory. What the pediment is to the superstructure, the "flower to the plant, etc., ad infinitum, the hat is to the costume. Rough basket weava straw crowns will bo associated with silk-faced brims, the latter saucering where they are not an actual roll. Negligent briina will feature some shapes, even others. Some new straws, in two tones, are dark blue with grey ,mole or taupe with slate grey, etc As time advances hats will more often turn up at the back. The brim peaks in front and rises gradually at the side. Then it merges into the trimming, though I expect the manipulator will be' able to reveal more than said. Back trimmings may entail a low coif- j fure; something on the nape of the neck. I have a few profile pictures in the way of advance notes, and they confirm this impression. All millinery wants to be chosen for. its affinity. The colour scheme should be uniform for a perfect ensemble. Whatever your hat it should suit yon; your style of feature and complexion being the first consideration..

Yon may trim many styles, if-.you do not want what is offering. We have never had such a variety of shapes and about through the continuance of the pick of the winter ideas and the anticipation of summer. The illustration is of the new French sailor of patent milam, which is an imitation of the more expensive qualities. The straight brim —observe!—is turned up at an angle all round, which is essentially French, in that it is borrowed from a 1 naval style. Likewise the pom-pom which is clearly borrowed irom the one to be see non the top of the French sailor's hat, summer and winter. Evolution in millinary ts like that in dress generally. Came Edward to the throne, and then the "entente." Step by step we saw points, one in the other, and now,

while Paris beau struts in the latest style of the island capital, my lady of the British Empire n.ore and more

favours the mode of gay Paree. Costume designs for outdoor divide into two classes, the severe or semitailored and the draped. The former carry forward oaany winter ideas, silhouette much the game, save for more width in the skirt, high natural waist, "stopped" decorative line, » buttons a great factor in ornamentation, pleats a feature of -more or lesa importance. First,, the costume is hall-marked by its collar. This, how-; ever,-is only one-feat/jim r Oofemgsj real and -feigned, are centre to side, and a line of buttons right down the seam is varied by a similar treatment in single or double row in sets of three, neck to knee. Pleats are arranged in the skirt at side or on both sides. A seam down the hip may be 'button adorned, then "stepped" at any distance preferred, and a pleat -or two used for the rest of the distance. In skirts which stimulate a drawn-back apron line-homely terms are sometimes best —pleats may carry from the curve of this as previously illustrated. In dresses with, a panel front, such may go from collar to knee level with buttons and cords in sections; and from the knee ,to foot, to the width of this panel, there will be a series of pleats, eight to ai dozen. 'Draped costumes reveal the influence of the panier, though it ends at v that mention. The crossover seam is gathered thrice on bodice and thrice again on skirt well up, and from these gathers the material semi-festoons to the other side. Again a favourite style is one that presents, front view, the lines of an elongated "X" on the skirt. The sides are draped into the centre of this "X," where there is a brooch or bow. This will be just above the knee level. The bodice section may have pleated shoulders, and half-round pleated sleeves' (two sets of three each). The • basic may carry a design, but the panel of the bodice, and the long wedges of the "X" of the skirt will be plain for the contrast. Act ceptirig a light shade for the contrast effect generally, there should be a dark silk girdle with front cross bow, same fqr small collar under neck frill, same again for cuffs. A fancy in cuffs, by the way, is the one cht on a pronounced slant to a high point with a line of tiny buttons, frill to finish. Tunic eifects will be in evidence, and one .before me, \yhich is only,, the simulation, is cleverly combined with a draping: Draped skirts in relation to the figure! The writer pictures the slim more often than not, the artist always. This is fair, as the object in telling of the modes and illustrating them Lg to impress the idea. But we are not all slim, and the slimmest can lay the unflatterng unction to herself that years bring a weight of substance even if not of cares. Drapings, therefore, have this' advantage-ra olever hand can make the stout not only presentable, but even charming. ' Soft and subtle fabrics—"subtle" is good—such as chairmeuse, cashemire do soie, satin, 01* aagin some of the season's fine woollens, and silky crepes and orepong are made to serve for gowns in which the apparent swathing of the frame gives distinction to every fold, And yet I like the plain, anyhow fdl' ordinary use. There is nothing that ■assures so much self satisfaction as a faultlessly fashioned simple frock. I refer to lines. There is plenty of room for ornamentation even so", as the combination of two materials allows the skilful to indulge in infinite fancy with the best result. -But the combination even when in contrast lias a .merging effect. That is to. say it is never sharply defined as in the old and condemned habit of a pronounced distinction between upper and lower, which now would be , thought pie-bald. Anyone who, by 1 effect, cuts herself" in half in this fashion assuredly takes from her height and thereby adds to her width.