The Stourbridge Observer, Cradley Heath, Halesowen & District Chronicle.
Stourbridge, West Midlands, England, 1885-12-19 00:00:00

GOSSIP ON DRESS.

Tnn Queen has the following comprehensive article
on present-day fashions: The silks, velvets, and
plushes are rich and handsome, and are characterised
by bold patterns and stripes, which, from a collection
of hair lines, develop to stripes an eighth of a yard
in width. The fashionable tints are heliotrope,
chrysanthemum, light and dark petunia, a gamut of
t. greens—the darkest emerald, grass gre'en, tilleul ar
intervening shades; seal browns and the redder
' tints—for example, lynx the colour of Suede gloves,
and Alezan, richer and redder, the more fire and
flame therein the better. The contrasts in one
material are vivid; red blends with blue or with
grekn, amber is flecked with brown or blue, blue with
canary; grass green is the ground on which lynx
stripes appear; cardinal and smoke, lettuce and
; myrtle, fawn and moss, fawn and brown —these are
1 fashionable combinations. Plain silks are corded,

and so well woven they no longer pull apart, and on
corded grounds appear gigantic leaves in loose up-
standing plush, bright in contrast. Stripes, fris6
designs, and large flowered brocades in self tones are
interwoven with corded and watered silks. Louis
XIV. and XV. brocades are revived in all their rich-
ness and beauty of colour. Pentes are a recent intro-
duction, viz., breadths of silk embroidered, beaded, or
more often interwoven with plush Bayadere stripes,
the last soft, mossy, and fringed. Velvet is worn plain
and fris6. Plush appears, in many varieties, the lace-
like stripes are perhaps the newest kind.
WOOLLEN materials are seasonable and fashionable;
__

it is seldom vanity and hygiene go hand in hand.
They are characterised by roughness of surface and
superficial coarseness of texture, dashes of colour,
flecks, dots, and stripes of all varieties. Chenille,
plush, and velvet, are intermixed in weaving these
fabrics. In lieu of canvas we have Iceland serge,
mountain baize, and such kindred stuffs of thicker
make. Double cashmere and fine cloths with a smooth
surface are used by some of the best dressmakers,
also fringed shawls, cut and draped over velvet,
plush, and velveteen skirts. A new make—velveteen
damasse, the brocade interwoven not stamped, is a
novelty of the season.

THERE is a marked change in the make of gowns.
Skirts are full, and fall in straight folds, no two alike;
tucks are often introduced, but the Bayadere stripes
are frequently a trimming of themselves. Bodices
fasten diagonally, have one revers, movable waistcoats,
full vests, in points back and front, or they show de-
cided basques at the back; others, again, are round,
or finish with the Incroyable sash. Figaro and Rus-
sian jackets, which are longer, are worn. Epaulettes
have necessarily followed full sleeves, and are
formed sometimes with guipure and beading, some-
times with fur ; the sleeves are still tight, and often
form a contrast to the bodice in colour or fabric. The
side seams in front are cut much on the cross; the
back has two side pieces each side. Many bodices
show no fastening, and cross over the vest. Selvedges
are utilised for trimming, and the material has fre-
quently threads drawn and worked into patterns, the
fringed edges supplemented by wooden beads and
tags: pinking is applied again ta ruches and flounces.
The tailor-made gowns are of dark colouring, with
bright vests of different material, often velvet, leather,
plush, or satin beaded. Ball gowns have low pointed
laced bodices, no tuckers, but tulle draperies, and are
made with bouffantes skirts, having beaded panels and
straight draperies. They are not only in plain tulles,
but in tulles shaded from dark to light, and in tulle
studed with cut glass like diamonds, and pea spots in
gold and silver, or sometimes worked with tasselled
bead drops or small flowers embroidered. Gold and
silver striped gauze, white and coloured, is fashion-
able. The sleeves are short, either crossing in front
or made in tulle united by straps on the outside of the
arm. Dinner gowns are made both trained and
short, the former often with distinct trains of some
contrasting rich fabric; the bodices low, square back
and front, or after the Renaissance and Incroyable
I,4yles. Low linings obtain now with thin fabrics.

IN the trimmings of the season wood plays an im-
portant part. Wooden beads, carved and plain, are
applied singly as an edge or fringe and en masse, and
are the most important part of the new galons.
Mostly wood colour, they are also made in every
shade and in metallic tones, and, under the name of
Indian beads, are plain and uncarved, while the
rosary beads are perhaps most fashionable when they
closely resemble a walnut. They are applied to the
tips of most of the chenille fringes, with wooden tags
to match, like those on a footman's epaulettes.
Veneers of wood are used for bonnets, and we have
beech hats. Natural fir cones, small and highly var-
nished, tip some of the new fringes. Buttons are of
Brohdignagian proportions, often wood richly carved
with metal interspersed. Metal repousse and filigree
buttons, and engraved pearl buttons have cloak clasps
and dress buckles to match. Beads of every shade
and hue are employed for fringes and galons ; front
breadths of dresses are embroidered with them, also
appliqué trimmings which matcli the colours in the
gown. Pearl beads are now made in all colours.
Chenille plays its part in full ruched fringes, tipped
with wood or beads ; and tinsel glimmers and glints
from lace, ribbon eord;• gnlona, tulle,- and trimmings
of all kinds. 'Woollen lace is a feature in current
modes, often interwoven with gold and silver. Painted
lace is worn; but Chantilly, Spanish, Edelweiss, light
imitations of Mechlin, and Brussels in a cream tone,
are more used on dresses, with rich silk and velvet
embroideries. Austrian knots and brandebourgs are
applied to morning gowns.
BRAIDING is used in various ways, wide and narrow,
in shaded colouring sometimes; but it can be had con-
veniently ready for application in almost any width
in the canework pattern, or set edgewise. The
fashionable frillings are made in Hsi() and gauze, shot
with gold and silver, and intermixed with velvet,
plush, and ribbons. Metal trimmings are on the in-
crease in Paris, and steel imitations of chain armour
border basques and sleeves. Feather trimmings are
worn, made perfectly soft, with no quills, and re-
sembling fur.
•

Fun, the warmest and most comfortable of winter
wear, appears in every guise; its newest application
is as bindings, pipings, and edgings to coats and
draperies. Astrakan is in the ascendant; in proof
whereof it is imitated not only in wool, but in silk,
then it appears in all colours, but black and grey are
the principal tints in wool. A new make of this
curled cloth is elastic. Whole skirts of Astrakan,
panels and vests, are fashionable, as also beaver and
otter, which show to the best advantage on green
cloth. Sable, bear, silver fox, and minx, are well
worn. Boas have come in again, they go once or
twice round the ne:.k and reach to the feet. Fur
cuffs and collars are made up in sets, the cuffs with
springs, so that they fit closely without passing the
hand through, to the detriment of frilling. Sealskin
is worn in capes, dolmans, and mantelettes bordered
with tails and fur ball fringe. Fur capes have
lengthened, reach now to the waist, or below it, and
have not the ultra high shoulders. The newest are
more like collars than capes, one end longer than the
other, crossing the figure and ending at the waist,
like a handkerchief.

FUR muffs are worn very large and very small; in
the latter, bands of fur trim materials to match the
dresses. Double muffs, one for each hand, are con-
cealed in the ends of mantles. The newest muffs are
made entirely of lace with flowers in front, and on
dressy occasions a branch of real blooms on the top.

MANTLES are long in front and short at the back, as
a rule, which means that vests and mantelettes have
taken their place, but the variety is legion; sometimes
the back is a mere cape, sometimes a dolman, and
there are many mantles worn which cover the dress
entirely and yet define the figure. The richest
brocades in plush, frig) velvet, and silk are employed;
plushes with scroll patterns in silk, Sicilienne with
huge Hee designs, and velvet with rich, upstanding
pile, braided with fur, beads, and chenille—nothing is
too rich or handsome. Woollen stuffs are employed,
almost equally costly, with frise and brocaded designs;
but there are plenty of simple tweeds, vicuna, and
checked cloths used for travelling and comfortable
wrap cloaks. Where magnificence is desired in these
it appears in linings, which are of rich bright coloured
silk and satin, and the sling sleeves show them off
well. Hoods, practical and impractical, are added to
jackets and mantles with bright linings. The circular
Irish cloak, generally dark blue cloth lined with red,
is a good example. High velvet colours, stiff and all
round, are a feature,, Jackets are small and close
fitting, except the Battenberg variety, which has velvet
revers and huge buttons, and is capable of being trans-
formed, buttoning diagonally and hiding the revers.
The elastic silk jackets, richly braided, are fashion-
able, as they show the figure to advantage. Bouclé
canvas and cloths are largely used for jackets and
mantles. Snaall sling sleeves to plush mantles in all
colours are worn both in the morning and evening.

MILLINERY reveals many wonders! We have
velvet, plush, felt, fur, feather, ribbon, and stocking-
nette bonnets, besides the straw and other usual kinds.
The shapes vary much, but, as a rule, they are cut up
at the back to show the hair, and trimmed high in the
front. Felt is made in all colours, is embroidered,
beaded, covered with network, and plaited in the
Dunstable plait, so that it might be mistaken for straw.
Birds of all plumage and all colours appear—heads,
tails, wings, and the whole bird; the chief point seems
to be that the arrangement should be erect, inter-
mixed with ribbons. Velvet, felt, and stockingnette
are veiled with silk woven lace, or netting. Many
crowns display wood and bead embroidery, and velvet
embroidered in open work is new. Gold and silver
glisten on bonnets, eyen the feathers are often painted
and tinselled. Some are felted—that is, the ribs of
the ostrich feathers are covered with a composition
like felt. Velvet feathers are made up into wings,
and single plumes embossed and outlined with gold—
what a boon it would be to the poor little birds if
they were universally adopted! Fur brims are
fashionable, also gold lace bonnets. The helmet
shape is a new introduction, but it has not universally
taken, though all sorts of impossible crowns obtain—
some pointed, some wheel shape, some like the slice
of a cake. The Olivia shape with the gable front is
worn modified with soft crape quillings beneath; as a
rule, the brim rests on the head. Jet bonnets, trimmed
with red, are well worn. The strings are longer than
during the summer. The new ribbons are of all kinds
and variety; auite the newest are scented—a delight!

i • ..- ". g'f 1 . I,__,s

ful idea. Shaded ribbons are worn, and woollen
ribbons, a natural transition from canvas. Chenille
and plush play an important part, and most of them
are reversible. Picot and fringe edges are featuresiu
ribbon fashions. Corded ribbon with velvet reverse
are new and fashionable. Woollen acarves are applied
as trimmings, and composite ribbons. Striped satin
and plush ribbons, and others in velvet, with flecks of
tinsel, spots, checks, and brocade, are all to be seen;
three inches is the usual withh. Hats are high, with
shallow brims; the academical hat of university life
suits young faces. Felt and tightly covered velvet
and plush hats, also toques to match dresses, are well
worn. The crowns, which narrow towards the a-ex
as they did in 1792, find favour in silk beaver.
Ostrich feathers are now placed mostly at the back.
•

Woollen uuderwear is worn; soft combination sets,
and even nightgowns. Otherwise there is little that
is new save that the garments are made in sets—
chemises, drawers, and nightgowns alike. The che-
mises are very narrow, the tops all lace, the sleeves
infinitesimal, the edges flounced and bordered wi,h
lace; silk under wear continues popular. Night-
gowns are box-plaited from the neck, and trimmed
down the entire front, The ribbed Swiss silk under-
garments, which cling tightly to the figure, have no
rivals in comfort. Crinclines, or no crinolines—that
is the question of the moment in dress. Worth is
trying to bring them in as side hoops, but English-
womm ignore them. The best kind fasten to the
edge of the stays, and have a few steels at ttie back
not far down, so do not wobble. They are made
often in silk highly trimmed, and the dress petti-
coats, as a rule, are nearly hidden by lace, whether
they have silk or cambric foundations.
• •

SIIOES are pointed, much embroidered, and made in
satin, kid, and velvet; the colourings to match the
gown, either the shoe itself or the embroidery. Many
of them cover the insteps. In boots, low, square
heels are the thing, and many good fur-lined boots
have been brought out.

GLovEs are worn very long. Sueaes are fashionable
in their natural colour, and to match gowns; silk are
only well worn by young girls,
GA.usn fans, exquisitely painted and utterly useless
for their original purpose, have superseded all others,
save feathers, among the best dressed. Floral fans
are, however, always worn, and are now made on a
bramble foundation, showing leaves on one side and
flowers on the other. Straw fans are a novelty, made
with ribs of straw cloth.