IN FASHION’S REALM.

Gisborne Times, Volume XXXVII, Issue 3480, 4 November 1913, Page 7

IN FASHION’S REALM.

UP-TO-DATE NOTES ON WHAT TO WEAR. LSrECUXLY WHITTEN FOB THE “GISBOBNE TIMEi'" (By an Australian Specialist.) In speaking of the influence of tho Tnrko-Balkan war on dress, Lady Duff-Gordon says:—“To my mind one of the oddest things about fashion is tho way she is affected by war. I cannot understand why the most horrifying of events should put its stamp on our colthes. Everything seems to have been touched by the Balkans—little caps and turbans, sashes, flares to coats, ar even veils.” Well, the really odd uing is that such a great authority should write as she has. It is far from being odd, and to feel surprise is to shut one’s eyes to all history. Nearly all fashions have their genesis in war. Here is a charming little girl, and I note her costume. Tawe her hat! It is garlanded and has a feather mount. Also sho is talking oft getting a veil. Well, the Red 1 Indian wears a head dress of feathers—the eagle, symbol of fleetness, bravery and supremacy. Wherein the difference between his mind and Caesar’s, whose eagles were carried into battle? All feather mounts have their genesis in the warrior’s plume. But wreaths! Home came the victor and to him the spoils! His brow was wreathed, and the maidens who strewed Iris path with flowers also garlanded their tresses. Love, war and acquisition, and then “to hold and to have.” What started the veil? Man’s determination that he should hide his chief chattel from other eyes. Take my fair young friend’s coast, and the revers had their origin in the necessity of fastening back superfluous clothing in combat, while the sash comes from the girdle for the weapon, and tho shoulder piece from a shield. liut I see that*she is wearing a tunic—classical soldier, the Greek border having its origin in the design of tho entrenchment. The sons of 1 Adam formed into camps, and camps begot nations. The home is protected and likewise the flag, the stranger being a foe through external birth and environment. Hence, with the complexioning of latitude and geographical features, the national costume. If women had always taken their place with men, fighters and workers, the sexes would now dress alike. For a crude proof what of woman’s dress where she has done manual work over some generations The nit-brow lass of Lancashire is easily pictured. Our flowing draperies come from exclusion and that is bracketted with Avar, love and jealousy. For a strong proof what of the Oriental, the Turk, the Moor, and for long the Italian ? Seclusion means idleness, and hence embroideries—women had to do something or die of ennui, and all the early ideas, which we still exploit, symbolised Avar in some form or other. Daintiness only evidences-tho'-reac-tionary phase of the same thing. The “softnesses” of fashion arise from recessionals. 'The most notable example is lace—the Church as the par- . out.

Now. whenever two nations fight they attract attention, and attention ‘ means interest.’ lit this way we are encouraged to exploit the peculiarities of national dress, Avliich is invariably of Avarliko origin. Men, as Avell as women, ol>oy the call. If only I had the data I could prove that the Norman, Plantagenet and Tutor styles Avero all influenced in the field of battle. Take just a feAV things since Trafalgar. To this day the sailor wears a scarf, and its origin Avas the mourning scarf at Nelson’s funeral. All sailor costumes (ours) come from the fighting dress of the seaman. Napoleon popularised certain features of the uniform of his officers for ever, and we constantly return to them. Incidentally Rolrespierre, head; of the revolution, left us some striking details, including a collar. Came Waterloo, arid fashion exploited the uniforms of the French, English and Prussians alike. Men started to Avear Wellington boots, and the “Bluchor,” for Avorkmen, has never been discarded. From the “Charge of the Light Brigade” avo got the CarI digan jacket, from the mutiny the cashmere shaAvl, from the Avar of Ital- ! ian Independence the Garibaldi. It : has ever been the same, and it Avill ; continue! The Avar in Manchuria at- ! tracted attention to the Russians and I the Japanese, hence the Russian : blouse and the Japanese kimono. The 1 recent horrifying Avar ‘in the Balkans has given us Bulgarian embroideries, colorings and the exquisite© Bulgarian j sash, the Balkan blouse, the Turkish turban and veil, and because Greece I was invoh r ed, the Byronic collar. But just about the time Avhen the limelight fell designers Avere engaged in exploiting the Tudor period. Tho little plume under the brim of some time ago simply revived the hunting cap of Henry VIII. and Edward VI. The ruff of Elizabeth was tried, but it failed—l think only pro tern. Its failure no doubt directed attention to the mwlified one of the medicis, and so the frill. Lady Duff-Gordon says that tho transparencies in millinery result from a study of the filmy effects of the Turkish seraglio. I question it. Catherine Medici and 1 her ladies Avore head-dresses, of gauze with pearls, and from the frill to thatis only the length of a head. The truth 'is that present fashions express four periods. We have endeavored 1 to he classical and that is the Greek. We see much that is reminiscent of the sixteenth century, and much again of) about one hundred years ago. \>e have merged them and grafted 1 tlie lot on to tho Balkans.

. ing ornament the straw must compensate in fineness of texture. Thus %-/' ' ■■■-WJ--.. ■>: ■

Noto-of interogation plumes are both extreme and moderate. One of the latter and in the simplest form adorns the hat of the illustration. This is a dainty small shape with high croAvn. It has a wide badn of black velvet Avliilo the smart upstanding feather, ostrich, is blue, and imposed dead in front. Hats so simple require to be of excellent quality. Lack-

a simpleh at is often a rathdr costly one—this by comparison. The roll of the brim of the model is, I hope, sufficiently demonstrated 1 . It is flat in front save for the least “guttering,” and rolls on the sides. These front plumes should always have an-over-the-crown tendency. What is more they should be particularly well supported.

The seraglio veil is a strong coming note. The correct way of wearing a draped veil is a hit of an art. The Turkish woman has a languid grace of movement which a subtle something just saves from indolence. I expect that the soraglio_veil imposes some obligations on us the reverse of being in a hurry. By veil is not meant the everyday face veil. There are many kinds of veils. The earliest veil of the seraglio was the Yasmik, a transparent veiling which,, well placed Turkish women wore to hide the lower part of their faces from the common gaze. Though the Yasmik has never been worn in any British community has found some favor in Paris and l t'j 0 Batin centres lower down. The seraglio veil approved for general adoption becomes, as it were, part and parcel ofi the costume. It is immensely long and if used with art merges with the drapings. Possible witli a very fine afternoon gown, its right relation is with the evening. Such a veil will be very elaborate, and Paris has edged .the ends with a narrow band of fur. A veil more suited for outdoor wear is called by one authority the “mystery.” It is a modification of the seraglio, and 1 its folds are full of the secret charm of the harem. It is created in dull gold and rose crepe edge with fur. The gown with which the mystery veil is worn lias Oriental touches in its trimmings and the grdlo. The soft, clinging drapery of the skirt is, perforce, the drapery of the harem scarf. From notes that reach me Paris has been making much of the veil. Indeed some of the ultra-modish costumes have been almost all veil. You may feel inclined to say i'll at a veil of this character is a scarf. Not so, as the scarf has “substance” and the Turkish veil is elusive.

Extreme ideas are not co be commended. Nevertheless we shall have skirts that are slightly slit up at the back instead of sides. No use railing at what fashion decrees. There is a great fascination in the skirts that are simply wrapped round the figure. At the waist, in front, the material is pulled through a buckle, the suggestion being that it has been wrapped round the figure and tucked into the waistband with every negligoneo. Lower and lower arc the docolletagos, the smartest costumes frequently being provided with a handsiSne medici collar of lace. A famous French designer has set his face against draping tailored suits. He has substituted the lnp-yoke All the same he favors the broad tucks in the centre of the skirt. I observe that famous designers abroad are talking of putting their signatures inside coats, just as in the case of tailors for men, and that the idea is being opposed. The Russian coat of a contrasting material to the skirt is applauded. A strong point in its flavor i s that it- can be made from short lengths of material. It is a threepiece costume. For instance, a dark blue suede ratine would have a mus-tard-colored blouse of ninon. ( lh ls might be embroidered with blue. Ihe Russian coat would be of printed Uhims-> silk, the ground mustard color, and the design a melange of shades. The. waistline is accentuated by a broad sash. Sometimes these coats are quite six inches deeper on one side than on the other. * * *

Bordered materials will gain favor as the weeks progress. Having a «-i audit lower edge the design is particularly adapted to bordered materia’s and bouncings, and so call it an embroidered crepe. High or low neck is optional, likewise long or short sleeves. If this illustration were in

colors it would appeal for its softness. Wo’ll picture it in a grey, those little groups of three graduated l balls being white. The floral border is of roses, leaves and stalks—pink - The belt is dark grey with festoons of small pink roses on*brim; and the sunshade repeats the two greys to lie on suite.