The Sphinx, Vol. 14, No. 212

              26
THE SPHINX.
February 23, 1907.
Fashions of the Moment.
There is something of irony in the fact that despite all skilful modern inventions we are returning to the laborious handwork and intricate stitchery employed by our grandmothers. Dressmaking apparently is to be more than ever overflowing with minuteness and hand wrought effects, the intention being obviously to frustrate as far as possible any cheap plagiarism by using those that rest their whole success and value on hand manipulation and absolute originalitj'.
In fact the amount of labour which the last few winters’ models represent surpasses the possibilities of verbal description. We have seen mousseline de soie hand painted, embroidered with lace and sequins, pleated, tucked, gathered, and crepe de Chine worked with similar skill. With these two materials and lace of all patterns but always valuable, net, coarse and fine, meteore silk, soft taffetas, voile de soie, Liberty satin, frisson and chiffon velvet, and latterly the recently discarded and now reinstated heavier materials, such as brocade, satin, and velvet proper, the evening dress must be a subject offering occasion for inexhaustible variety.
Foremost among the hand-made trimmings to be recognised is a sort of trellis work of taffeta, the effect chiefly wrought through a medium of narrow strappings, filled in with a waved arrangement of the silk, closely gauged at intervals. Chiffon sleeves, their fulness drawn up into fanciful scroll effects on heavy pipings, form another noteworthy innovation. Particular emphasis also is inclined to be laid on adornments of twisted or rolled satin, these mostly requisitioned as detached strappings, sham buttonholes, or small dumpy rosettes, commonly termed “macaroons.”
We constantly see embroideries upon net or lace, appliquet cf velvet or silk ; but a reversal of this order of things is acceptable, and a pale satin or velvet gown with a design upon it in soft narrow lace and motifs, with 1 manipulations of fine net interspersed, can be very pretty. A string-coloured brocade with a design of large roses and foliage had some of these roses and leaves decorated in this fashion, sometimes in fine lace, and sometimes in frilled or even quite plain net of varying textures, and the stalks were of tiny braids, such as are used in the making of certain laces. A deep border of this lace and network, carried out very finely in black upon a black net gown, mounted upon white, is successful, and in coloured nets upon a white net background, keeping the embroidery to one or at most three pale colours, is very pretty for youthful wear. Light floral trimmings carried out in tulle are perishable but charming, especially when ihey represent something ethereal, such as dandelion, .docks thistle-heads, and the like. A frock of
palest green tulle worked with sprays of ferns, chiefly maidenhair, in a deeper shade of green, with a few diamante drops of dew here and there, had a distinct success of late, and would be very pretty expressed in grey (or white).
Quite a notable feature in the realm of trimming at the moment, is the great prediliction shown to the one-colour scheme. A frock will have its garniture—of whatever different materials it may be composed—strictly carried out in one or several shades of the same colour, and almost invariably in the latter when the decoration is of a varied and composite kind. Indeed it rarely occurs that the same tone is exactly found in velvet, satin or silk, and as most of the frocks of today boast of at least two or three different materials employed in their trimming, the very subtle tones thus obtained produce a very charming and discreet effect.
Avery piretty trimming for girls’ dancing frocks and and quite ubiquitous in Paris is the Louis XV bow which makes its appearance in satin, velvet, chiffon, and in small flowers. Such quaint bows are exceedingly pretty when made of soft white satin and posed on dancing frocks of mousseline de soie or chiffon ; also they are effective in small flowers, such as violets, forget-me-nots, and jasmine. The sweetest possible little party frock—worn lately by the seventeen-year-old daughter of a famous Parisian beauty—was made of ivory white Indian muslin ; the skirt was round but touched the ground everywhere, and the hem was trimmed with a number of graduated flounces, each one edged with white satin ribbon.
These flounces were arranged in Vandykes, and at each point there was a rather large Louis XV. bow of white Liberty satin ; with these bows a most charming effect was obtained, for through the loops was thrust a length of palest shell-pink tulle, and this cloudlike stuff was lightly spangled with silver; the bodice was extremely simple and fashioned in “bebe” style, with a cloud of spangled tulle over the shoulders and little puffed sleeves which barely covered the top of the arms; the tulle was passed through the loops of a large Louis XV. bow at the breast, and there was a wide sash—tied at the left side—of ivory satin.
Princess Dresses.
These are still In vogue, but generally when soft materials are used these are drawn into the waist with infinitesimal puckerings, and then broad bands of lace are carried down the entire front, from neck to feet, the same wide insertions edging the hem. These gowns requite a great deal of adjustment; the draping from the shoulder to the hip line must be perfect. There is very often a Pounce at the knee and plenty of ruchings at the foot.
Another variety of the princess gown, buttoned simply all the way down the front, as worn as long ago as the thirteenth century (and also in
the fifties), has been revived of late in Paris, or at any rate an adaptation of the same has been seen. On a heavy gown—a severely beautiful velvet 01-satin of thick (not chiffon) texture—jewelled buttons in graduated sizes look handsome, and a lace frock has been trimmed in the same style with a delightful double row of crystal buttons set in silver filigree.
This all-in-one graceful type of dress makes it a great favourite for bridal attire where the back is of course a matter of great importance as it shows all the time and is the cynosure of all the critical eyes in the church. Soft supple materials which fall in easy folds are de rigueur on such occasions, the thick satins which “stood alone” being quite out-of-date, as are the rustling silks once in such favour, and the large-patterned flowered brocades and damasks, so difficult to join and arrange without wastefulness or interruption of the design. To-day the dressmakers use soft rich satins, as pliable as mousseline de soie, voiles, China crepes, all of the supplesse elegante required to suit our modern taste. With the change of materials naturally the style of make and trimmings have altered considerably. Trains of light materials are not so long, and are very fully and daintily trimmed. A great deal of attention being given to the back of the figure, it is well, if possible, to avoid having the fastening there, and there should be no thick belt, as white in any case is apt to make the waist look larger. The skirt should be long in front and at the sides, though, of course, not of a length to impede easy walking.
The Crinoline scare.
An eminent Parisian authority has declared that crinolines are coming into fashion again !
We hear this cry pretty often, but it never possesses much meaning ; women of the present day appreciate too keenly the charms of “the line” —when the latter is of an attractive order.
At the same time, it is true that—in certain circles—the puffings and frillings of th second Empire are leading us perilously near to the hooped skirt; leaders of fashion in Paris will certainly wear something in the shape of a crinoline this coming season, but this must not be taken as a sign that “crinolines are worn again we always find amongst the chic Parisiennes some women who delight in modes which savour of the eccentric ; but then they never wear them on ordinary occasions: at the artistic dinner party of an intimate friend or at some very special evening reception.
The crinoline will be “the fashion” just in the same sense as Greek draperies and Roman togas are “in fashion” : they will be worn by exceptional women on exceptional occasions, that is all.
Leonor.
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