The Tailor and Cutter and London Art Journal: An Index of Cutting, Fashion … (Google Books)


This being the hunting season, it is fitting that one of our Plates’sbould show the latest style in Hunting Dress. For many years there was practically little change in the style in which Hunting coats were made. The figure on our third Plate shows a very material change upon what was wont to be regulation style: it represents what is practically a single-breasted Frock, about the same length as the present fashionable Frock.

There are a few special features connected with a Hunting coat to which we will refer. The collar is heavier, as will be seen, and when the coat is buttoned to the top, the collar up, and tab buttoned over, the chest and neck are well protected. The coat is usually lined through with scarlet twill flannel, and the skirt is frequently interlined with thin macintosh, too keep out the w..t. Others provide for this by painting the inside of the skirt with a waterproof solution. In many cases, but not invariably, a saddle-strap, about 8 inches deep and 6 inches wide, is placed at the waist behind, inside across by the hip buttons. This keeps out the cold and the wet when the coat opens behind. Wind cuffs are an almost invariable feature. A macintosh apron, of which we are frequently called upon to cut a pattern, is often worn—this entirely separate from the coat. It is cut something in the form of the

fronts of a pair of trousers, only much larger. It extends from the waist to the middle of thigh, and is fastened there and at the waist behind with straps.

Then Piatt & Co. make a feature of supplying knee waterproof protectors. These extend about 8 inches above the knee and about 4 below. These are a few of the specialities associated with Hunting Dress.

It is unnecessary to add that Hunting coats, when made of the usual scarlet, should be made by a workman accustomed to this class of work, otherwise he may make a mess of it. The scarlet Hunting coat is not now so universal on the field as it was wont to be, many being now made of black Melton.

The Illustrated American, Volume 9 (Google Books)


These spaces are filled in with most charming little Louis Seize ornamental patterns stamped on in perfectly arranged colors; fluttering ribbons tied about tambourines, with floral garlands, etc. The effect is enchanting and novel in the extreme, for which fashionable women should be wonderfully thankful, since the never-silenced cry is invariably for something new. The new muslin is to be made up over glace silk, and if one desires to continue the imitation of last century fashion to its smallest detail, thin gros grain ribbon stamped with designs similar to those on the muslin will be used in trimming.

Tulle and chiffon sewed thick with small pearls is another arrangement designed particularly for debutantes. Older and stouter women may well envy the young girls, for perhaps some partiality in the planning of these new stuffs has been shown by the designers. Only a youthful skin and girlish tenderness of color in eyes, hair, cheeks, and lips, with girlish slenderness of figure, can afford to assume the Trianon muslin and pearled chiffon.

EVENING wraps for wear at the opera balls are, by the smartest women, preferred unlined with fur, as has long been the fashion. A new evening wrap after the following description will give an excellent idea of those Parisian modistes have lately designed.

This cloak was cut on the ordinary circular pattern, and, with only a shaping and fitting at the shoulder, fell straight and long from throat to heel. Canary-colored French cloth, satin finished, was the material, lined inside with paler yellow surah. The soft stuff was gathered about the neck, and from the throat fell a fulled cape of black lace that reached half-way to the waist at back and front. This cape was brocaded close to the cloth by means of a delicate jetting that outlined all the woven designs of the lace. The jetwork then extended from the lace on down the skirt of the cloak to the very foot. It ran in fine skeleton designs and resembled nothing so nearly as frost-work in black. A full ruche of lightly jetted coque feathers stood up about the throat, extended down the fronts, and finished off the cloak’s bottom. Handsome jet ornaments clasped the wrap under the chin.

A second opera cloak was of a thick but light-weight wool goods, tinged a clear cafe ‘au /ait and made on the same pattern as the one above described. Cafe au /ait

[graphic][merged small]
1. Hereafter all correspondent* should be addressed to ” Editor, Correspondence Department. The ILLUSTRATED American, Bible House, Astor Place, New York.”

2. Questions sent by our readers will be answered in the order in which they are received. Owing to the large number of letters which reach us ashing advice, and to the fact that answers to many of the questions involve considerable research, replies can rarely be given in the same week the letter is received Our readers should not enclose stamped envelopes, with requests for private correspondence, as questions can be answered only in these columns.

3. Every letter must be accompanied by an inquiry coupon, which will be found on the third page of cover.

Indian.—I am sorry to say I did not like a single one of the poems. They sound strained and unnatural in the reading, and are painfully often faulty in construction. You had best buy a good book on versification and keep Hood’s ” Rhymester ” on your desk for reference. I don’t say. cease attempting to compose. Often one’s early efforts seem futile and discouraging. I only advise a close study of poetry and strict attention to the laws of verse making.

Atlanta.— Indeed, I do envy you. and trust that the novel experience will prove an entirely delightful one. For the outfit you will need, first of all, warm underclothing, for in Virginia in December the weather is anything but mild, particularly in the huntingfield. I advise you to use high-necked, long-sleeved shirts, with the new undertights now so commonly worn by women. If these are of wool they will not only keep you perfectly warm but are vastly more comfortable than the ordinary undergarments, which, in the hunting costume, would, I fear, sadly hamper your pleasure. Your toilet should be composed on the following lines: First, encase yourself from knees to throat in the aforementioned tights and shirt. Over the shirt slip on a loose one of dark flannel, heavy and rough of material, and made on the pattern of those worn by men ; that is, with turn-over collar, half-bloused body, buttoned up in front, with no attempt at shaping to the figure. If possible, have ihe flannel shirt gathered at the waist into a broad, short belt, on to which you can button the short skirt of your hunting-suit. The hunting-skirt, that must fall just over the tops of your knees or may be as far down” as midway between ankle and knee, should be of heavy tweed, serge, or cheviot. Tweed is best, of course ; corduroy is far too heavy. Hem the skirt not very deeply, kill or box-plait it, and let it button on to the shirt-band, that all its weight may fall on your shoulders and not on your waist. A Norfolk jacket of goods like the skirt should be worn over your shirt. Cut this jacket rather short about the hips. Heavy gray yarn stockings are decidedly the best for the hard wear you will give them. I.aced boots, thick and broad-soled wilh low heels, are decidedly the most comfortable, and over them draw a pair of brown canvas leggings that will reach from your instep far up over your knees. Four-button English walking-gloves you can use when not in the field, where gloves you will find an elegant nuisance. No, most assuredly not. I quite agree with you that women can hunt with the utmost propriety, and by the wearing of a modest, becoming, but sensible hunting-dress, and going into the field with men, they need not in the least shock their own or any one else’s delicate sensibilities. The opinions of your cousin you may quietly set aside as stupid and old-fashioned theories not worth a moment’s consideration.

Narka.—I am distressed to think you never received the package, that I remailed to you the day after its arrival in New York. It was not registered. That was not carelessness on my part, for I had just a bit before sent out a number of small parcels that all reached their proper destinations in good time, and I considered that registration would be but a useless expense. In the past few months there have, however, been perpetrated such bold postal robberies that I should have been more thoughtful. I beg you to forgive me for the mistake, and I here take the opportunity to ask all correspondents who may notice this, to remember and enclose a few extra stamps for registration on any parcels they may send. I know you will be disappointed to learn that corsets cannot be made from measurements. Not long ago

1 had occasion to search for a corset maker who would undertake to make a pair for a friend out of town. Not a single good maker could or would oblige me ; they all insisted that corsets made from proportions of a figure they did not know and from which they had not taken their own measurements would never fit. No amount of coaxing would overcome their objections, so I had to content myself with purchasing an expensive pair of ready-made stays that answered quite as well. Now you can. if you ever go to New Orleans, find there a good corset-maker who will make you as good a pair as can be manufactured, and at far less than the New York makers charge. Better than that, you can send the same amount of money required to pay for an ordered pair, and buy a charming pair of ready-made ones. If you will, write to Altman’s, at the corner of Sixth Avenue and Eighteenth Street, or to Lord & Taylor, at Broadway and Twentieth Street, New Yotk, and enclose ten or eleven dollars and an order for a pair of ” La Classique ” corsets. Give your number, of course, and they will express to you a corset that combines all the highest virtues. The corset-makers here will not touch a commission for less than twelve or fourteen dollars, and I doubt if they can do better by you than the readymade ones I advise. I advise the gown made with a simple straight skirt, plain in front, and plaited in close at back. Around the bottom of the skirt run three narrow, close-set ruffles of the dull silk, which should not only run about the front breadths but extend across the back also. Make the basque close-fiit’ng and long-waisted, with a deep-pointed zone girdle of the silk, to hook up under the arms. Pun the sleeves high on the shoulder, with very deep cuffs of silk to turn back at the wrists, and a high silk collar finishing the threat. It is just now the fashion to affect house-gowns extremely simple in make, and as you are slender, the zone waist will suit you well. Don’t use crepe on the gown ; silk is far more appropriate as a touch of mourning on frocks worn at home. Let me add a hint on my own account. Make the skirt long in the back, for though I count it vulgar to see handsome goods dragged uselessly over the dusty streets as is so common a habit with women this season, yet for the house nothing so adds a touch of grace as an extra length at the back of a skirt. In NewYork, a number of women who have pretty throats wear in the morning, at home, turn-over collars of stiff white linen. In place of a scarf they knot a ribbon bow under the chin, and so lend a crisp brightness to even the soberest costume. The plain linen is, perhaps, in better form than more frou-frou neck-wear of embroidered ruffles. It seems to me you might, if you like, wear these pretty collars with the house-gown just under discussion.

THAYER.—On inquiry, I learn that the professor is a quite reliable and most respectable person. Many I know who have studied his system are loud in its praise; others denounce it as of no avail. I trust it may be of benefit to you, though, for my part. I think it quite within one’s own power to strengthen a weak memory, and have little faith in the efficacy of these prepared systems.

Tumbler Pigeon.—If you will write to Miss Hawkins, who is Secretary of the Ladies’ Berkeley Athletic Club, on West Fortyfourth Street, New York City, she will send you printed pamphlets giving all rules and regulations governing the club. Yes, I think it quite the best institution of the kind in New York.

YsOBSL.—Yours is a very sensible and proper ambition. I see no reason why you should not follow your inclinations, and thereby find quite a sufficiency of pleasant work to fill up all those empty hours. The Church of the Incarnation, on Madison Avenue, corner of Thirty-fifth Street. New York, does, I know, gladly welcome into its corps of clever, energetic parish workers any one who is willing to lend a practical helping hand. It has charge of many prominent missions, and its creche, on the east side of the town, might, 1 think, afford you just the opportunity desired. Dr. Arthur Brooks is rector, and a letter to him would receive prompt attention. A little out of your neighborhood is Calvary Church, on Fourth Avenue, corner of Twenty-first Street. It is another church closely associated with the extensive city mission work, and there you might find just the interest and occupation you need. No, in neither of these churches is there the slightest ritualistic tendency.

Yram.—Well, I have read and reread the letter you enclosed me with closest attention, and, unless I am very blind or dullwitted, I see no hint at what you suspect. It reads to me very like the ordinary letter a nice young man might write to any nice young girl correspondent. It is very evident that he does you the compliment of using his very best scented note-paper, a new pen, his choicest language, and the latest bits of interesting new* that have fallen in his way. Moreover, all this points to the flattering fact that he is earnestly desirous of pleasing and amusing you, and though you may previously have had revelations of a sentimenlal nature made you and your tender suspicions may rest on grounds of which I am ignorant, this letter surely does not presage any early return of the softer emotions. If all his letters are couched in the same terms of friendly affection, then you may rest quite easy. He evidently does not meditate any early confession of love. By all means, answer his neat missives, and if he has done nothing more than send you half a dozen such nice letters he has been guilty of no great crime, and you would be very wrong indeed to refuse to answer them. After all, do you know, it seems to me that your mother should be the one to clear up these lingering doubts in your mind? In future you had best lay these matters before her and ask her advice, as a third person and a stranger is S’ arcely fitted for such a duty.

X. O. Dus.—It is just as you please- You may address the envelope ”To Mr. J. Brown,” or write on it, “For Mrs. J. Brown.” It all depends on your own inclinations and convenience whether you will write ” City,” or the name of your native town or its initials, at the bottom of your envelope. “City ” is a rather more popular method. No, ” Town ” is very bad form indeed, an absurd straining after originality, that means nothing.

Shumway.—You’ve made a mistake in using so much of the shoe-polish, for the more frequently you apply it the more apt is the leather to show a need for it. Suppose, on the new shoes, you don’t use any of the prepared polish, but in a little jar mix together equal quantities of vaseline and good black ink. The result of the mixture should be a semi-liquid, coal-black paste. Apply this with a bit of sponge once a week, and I think you will find your shoes are kept in better condition than ever before. Yes, 1 understand your trouble with the De Guiche varnish ; it is excellent, but so very inconveniently put up. I always empty a new bottle of the varnish into a small glass jar with a screw-top, and apply the cream with a fine camel’s-hair brush. Immediately I have finished painting the patent leather vamps and tips of my boots I screw on the jar-top, and wash all the varnish off the little brush. I think your trouble must be, that you use too much of the cream. It is better to use too little than to lay it on in great sticky masses.

Cat-sup.—Certainly, your mother’s ideas were all very clever, and it seems to me from her excellent suggestions alone you should be able to get together a splendid lot of hand-made gifts against Christmas. However, since you say so many sweet things of my abilities, I must not fail to offer at least one or two serviceable hints. Why not use up some of the silk scraps you surely must have left over from the pin-cushions and head-rests, in making one or two of the new paper-weights? These are nothing more than little bags filled with sand, and slipped into silk casings. One end of the casing is gathered into a bunch tied about with a bit of narrow ribbon in imitation of an ordinary money-bag. Such a bag, as big as one’s fist and encased in dark-blue silk, has marked on it in gilt “$50.00”; brown-silk bags have ciphers and figures in yellow marked on them, and some can be cleverly ornamented with a neatly done silver dollar in silver paint, or copper cents firmly pasted on. For some half-invalid friend you might work a couple of the pretty hot-roll napkins. These are no more than ordinary big, white, smooth damask napkins, the four corners of which are creased into the centre, and stamped with the words. “Hot Rolls,” in two corners, and with ears of wheat and tiny sickles in the other two ends. With yellow floss the words are easily outlined, and in Kensington stitch the sickle and wheatears may be prettily filled in. I don’t think a napkin, with silk for working included, can cost more than forty or fifty cents, and as they are to be bought already stamped, it takes very little time to put in the silk.

F. S.—The rule is, that on rising to leave you shake hands with your hostess and those of her friends or household that may be receiving with her; to the remainder of the company you merely bow, and bid them good afternoon. ‘Twould be not only very tedious hut unnecessary to take formal adieu of every individual with whom you might possibly have exchanged a word. Afternoon tea is not, you see, meant for formalities, and after greeting and bidding adieu to the hostess, one is entitled to slip in or out without great stir and hand-shaking.

Lady Slipper —Do very much as you please. The excellent tan gloves are now worn as much as ever with gowns of every color, and in the morning, afternoon, and evening. The very latest idea, of course, is the use of white gloves for morning and afternoon calling. These are of soft, white dressed kid, with five buttons, and stitched with black. The very smartest women to some extent follow the fashion of using tinted gloves with evening and dinner gowns. Pale rose, blue, lemon yellow, and green, with light gray, tan. and white, are the most appropriate. The short white calling gloves cost from $1.85 to **2 per pair. The long evening gants de Suede run all the way from $2.75 to $5 and $7 per pair.

Madam B —Not that I ever heard of. White, according to the time-honored custom and prejudice, is worn only at the first bridal, and widows about to remarry wear some soberly colored becoming gown, minus the veil and orange-blossoms. Now, although

there is no law obligating women at their second wedding to resign the lily-white costume. I would most earnestly advise you not to violate the rule and wear while again in defiance of the custom. If you do pretend to initiate such a reform for widows you will be the subject of much cruel criticism among your friends and, if you possess any, among your enemies. Be sure they will not hesitate to speak sarcastically of you. Were you younger a simple white gown might be permissible, but, as you frankly confess to gray hair and a few wrinkles, let me assure you nothing could be in falser taste than the snowy toilet, no matter how flattering are the assurances of your future husband. A handsome silk is what you should wear. It can be of any color you like, and, since you ask my advice. I will give you my opinion as to its color, texture, and pattern. Have the skirt of heaviest Lincoln green or clear gray bengaline. If green is your choice, have the skirt made absolutely plain in front, and at the back sufficiently long to lie out on the floor in a graceful demi-train. At the foot of the skirt let a band of sable three inches wide, or a band of silk feather trimming three inches wide, run about the back and front. Fur is preferable to the feathers. The waist must be made in the form of a Louis Seize coat, with tails long, full, and falling at back and sides at least three inches below the knee. In front, over the bust, it should turn back in revers from a.vest of palest rose-colored chiffon, over which should be looped a full jabot of delicate creamtinted guipure lace. The coat inside may be lined with palest rose silk, and at the cuffs of the full wrinkled bengaline sleeves a touch of lace and chiffon can appear. A high collar of bengaline, edged with fur and lined inside with rose silk over which lace is plaited, finishes off the coat. A bonnet of jet and guipure lace, with green velvet strings to tie under the chin, can be worn with this gown. In case you prefer gray, you can copy this gown in every particular, except that silver fox fur takes the place of sable in trimming, and perhaps dull old blue, or electric blue chiffon with the cream lace may be more becoming than rose-color. I am almost tempted to decline answering your second question. However, my advice would be, that you have the ceremony performed in your father’s house in the presence of relatives only. Wear such a gown as I have described, with your bonnet, receive the good wishes of your family, break bread, or, more literally speaking, cut a bridal cake for them, assume your wraps, and drive immediately to your husband’s home. Your announcement cards only need then to be issued, and on the ‘* at home ” cards enclosed, have engraved the date on which you will be ready to receive your friends.


1. Letters to Mart and Exchange must be marked “Mart and Exchange” in the left-hand top corner of the envelope, and addressed, ” The Illustrated American, Bible House. New York.”

2. Append initials or ” noms de plume” to all communications for this column. Private addresses will be withheld at the office of The Illustrated American, through which all correspondence should puss, in order to insure the good faith of those making use of the department.

3. No letters will be forwarded unless accompanied by stamps.

4. Every letter must be accompanied by an inquiry coupon, which will be found on the third page of cover.


Kodak No. I.—A solid gold watch, valued when new at $200, and a Smith & Wesson revolver valued at $13, for a Victor light roadster, or other light machine.—Owendale.

Magazine.—Three bound volumes of Golden Days, two bound volumes of St. Nicholas, four bound volumes of The Youth’s Companion, for bound volumes of The Illustrated American, if they are in best condition.—Saginaw E. S.

Piano.—A more than ordinarily fine Weber square piano offered for sale at $200, or will exchange for an upright of different make. Lack of space in a new house is the only cause for offering this exchange.—L. H. P.

Books.—Harper s Monthly, beginning with January, 1864, to January, 1888—twenty-four years, complete. All in first-class condition. Offered in exchange for the Century Dictionary.— Bubilum.


Dress Uniform,—Consisting of coat, helmet, shoulder-knots, and dress-sword belt. These articles have been worn but once, are therefore nearly new. and are suited for a line officer of infantry. U. S. A. Coat is of best broadcloth, and cost—net—$12.75. Sword-belt. $6; shoulder-knots, $6; helmet. $3—total, $27.75. Will lake $15. Size of helmet, 7i.—Dress Uniform.

Demorests’ Monthly Magazine, Volume 14 (Again)

Mme. Demorest’s Portfoliº
ºf Fashions.
This popular periodical for sug
gestion and reference is issued on
or about the 1st of March for the
Spring and Summer of 1878, and
strongly recommended to dress
makers and ladies generally,
is containing an inexhaustible
supply of ideas for the making
and remodeling of dresses and
lomain of the family wardrobe.
Models being represented through
his medium enlarged in size, with
double views wherever necessary,
and every detail faithfully and
ºccurately represented, there is
ºtheslightest difficulty in decid
ing upon styles suitable for differ.
ent purposes, while it also enables
adies to judge by comparison.
which will suit old designs they
intend to make over, as well as the
ºw materials they have to make
A systematic reference to the
“Portfolio,” which only costs fif
ºn cents, saves dollars, which
night otherwise be expended in
The purchase of unsuitable pat
Terns, besides furnishing sugges
ions which can be multiplied into
ºn almost infinite variety of useful
styles in dress and trimming.
Orders must be sent early so as
to be filled promptly, as the de
mand increases enormously with
ºvery fresh issue.
– – — – — – –
–~~~ —
and elevated taste at home.
arments throughout the entire

—> -T->{‘sº
– Y- º
AL Q:§§[AUiº
2 sº
— –

“What tº Wear,” for the
Spring of 1878.
OUR “What to Wear” is now so
well known, that we need do little
more than call the attention of our
readers to the fact of its appear
ance. Its practical use has made
its one hundred thousand subscri
bers its one hundred thousand
friends, and not one of them but
will bear witness of its value as an
ever-welcome guide in the thou
sand details of selecting, buying,
making, and performing various
other needful offices, which fall to
the share of housekeeper, wife,
and mother. –
What to wear, what to get, how
to make it, and what to do with
the materials on hand, are perpet
ually recurring questions in the
household, and these the “What to
Wear” of Mme. Demogest seeks to
answer. The cost is so trifling,
that it is not missed ; while the
service it performs is never end
ing. Every merchant, milliner,
dressmaker, and lady of taste,
wants this book of instruction on
dress in all its departments.
Review ºf Fashions.
THE fashions of the past season
have been remarkable for beauty,
variety, and picturesque effect.
There is now almost nothing that
is arbitrary about fashions in dress.
A lady can wear any material, or
any combination of materials, pro
vided it is in good taste, and
– º –
ANES g|EºNgº Nº.
We invite the attention of ladies particularly to the original and special character of the Designs and Styles in Dress furnished in this Magazine. In this department it has always been acknowledged unrivaled. Unlike other Magazines, it does not merely copy. It obtains the fullest intelli. gence from advanced sources abroad, and unites to these high artistic ability, and a thorough knowledge of what is required by our more refined Besides, its instructions are not confined to mere descriptions of elaborate and special toilets, but embrace important information for dealers, and valuable hints to mothers, dressmakers, and ladies generally, who wish to preserve economy in their cardrobes, dress becomingly, and keep themselves informed of the changes in the Fashions and the specialties required in the eatercise of good taste.
adapted to her purpose. The old
notion that silken fabrics alone
were suitable for dressy wear has
been quite exploded by actual ex
periment. Softwool holds the light
and shade, and forms itself into
becoming drapery much better
than silk, and is therefore more
graceful and more becoming, while
it can be made as costly as need
be in costumes, by associating it
with rich figured silk, or emboss
ed velvet, or both, and adding
fringes and trimmings ad libitum.
Many ladies have, however,
taken advantage of this diversity
in fashion to arrange very inex
pensive, yet very stylish costumes,
in ivory shades—pale blue, pink,
and rose of fine woolen cashmere,
debege, or English barege, associ
ated with folds of soft silk, damas
sée, or embossed velvet, or both.
Cashmeres and debeges in light colors are particularly affected
for dressy in-door wear, afternoon
teas, or lunches; and are always cut
in the princess style, so that they
are saved from the appearance of
a wrapper, only by the cut of the
neck and the arrangement of the
trimming. –
Cascades of lace or fringe with
ribbon bows are fashionable forms
of decoration, extending entirely
down the front and back, when
the skirt is cut whole, but usually
there is a plaited train inserted at
the back, and in this case the cen
tral trimming stops at that point,
while, perhaps, the front will be
arranged as a basque, with a
deep square vest, and the lower part laid in side plaits or arranged
in bouilloneós, divided with cords
or pipings, or gatherings of narrow
The great merit of this variety of fabric is in the fact that styles
can be adapted to many degrees
of fortune. The richer combina
tions, too, have their own advan
tages. Some of the most beautiful
and expensive-looking toilets of
the present season have been com
posed of rich dresses laid away, and now brought out to be cut over and combined with new bro.
caded silk, striped satin, or other
of the rich figured fabrics in
It is not at all desirable that every
one should be confined to economy,
or the use of cheap materials. The
development of art, and all the
higher industries, depends on the
ability of the rich to pay their
cost. In olden times, the Church
was the patron of skillful industry.
The first attempt made to engrave
precious stones was for the deco
ration of the robes of the high
priest, and the whole art of em
broidery and the working of lace
had its foundation in the enrich
ing of priestly vestments and altar
In Protestant countries, the
Church has no longer any oppor
tunity for display of this kind, and
the encouragement of industrial
arts has therefore fallen directly
into the hands of those who have abundant means to gratify their
taste and love of the beautiful.
It is an evidence of progress,
when the rich are willing to spend
their money in the finest results
of hand labor and artistic skill,
instead of in that which repre
sents mere wealth in bulk. The
richly engraved gems, therefore,
which are now so fashionable,
the exquisite blending of colors,

in silk and chenille embroideries,
the introduction of fine embroi
dery in colors, into delicate lace,
are all indicative of progress in
civilization, and that growth in
art which is reflected in the
beautiful interiors of many dwell.
ings, and in the wonderful skill
bestowed upon the cutting of
modern intaglios, the enameling,
the painting of jewelry, and other
ways in which exquisite handi
work finds occupation and recom
It is rather early to speak of
spring styles, but not too early
for those who live in a warmer
climate, and who find themselves
during the latter part of February,
or early in March, surrounded by
the growing grass and the bud
ding trees. For the benefit of these,
we will mention two new styles
of costume, both of which are
suitable for spring materials.
One consists of a trimmed or
double skirt, and plaited yoked
waist, belted in. The other is a
Princess, with a small demi-train,
accompanied by a somewhat long
and close-cut jacket. The first of
these is best composed of cashmere
or plain wool bege, trimmed with
silk. The second looks extremely
well in the new mottled or fine
diagonal all-wool serges, also trim
med with silk, in the darker shade
of the color. Fringes, or other
hanging trimmings, with the ex
ception of loops of ribbon, are no
longer used for such dresses.
They are strict combinations of
silk and wool, with trimming
very often consisting of numerous
pipings of the silk, with loops
of silk or ribbon hanging between,
or outlining the bodice or basque.
Flounces are used upon the skirt,
gathered or plaited as preferred ;
or the front, to the knee, may con
sist of a side-plaited tablier, the
back being finished with narrow
ruffles knife-plaited, and put on
with a heading.
A very pretty dress of this kind,
for business purposes, is made of
brown mottled serge, cut strictly
walking length, and accompanied
by a jacket, which is cut away
slightly from the front so as to
show the pretty basque trimming.
This is an excellent model for a
shopping or a business dress.
For the piqués and cambrics,
which begin to make their appear
ance, the plaited yoke basque and
Princess styles are the most suit
able, and as these are likely to
continue in vogue all summer,
there need be no difficulty in
making up summer wardrobes in
advance of the regular season.
Models for the Month.
AMONG the recent designs which
will be likely to hold a permanent
place, so long as the present re
stricted styles of dress shall con
tinue, is the polonaise, which we
illustrate under the name of the
“Seraphine’—2466. It is a very
graceful and well-fitting model,
adapted to bourette, the richer
brocades, or equally for the fig
ured basket-cloth, the new Jas
pers, or the pretty mottled serges
and wool debege, which are al
ways among the standard spring
fabrics. It may be trimmed with
velvet and silk, or with silk alone,
or with satin, according to the
fabric of which it is composed. It
requires less than eight yards of
material, twenty-four inches wide,
exclusive of the trimmings, and
may therefore be made up as in
expensively as one could desire.
The overskirt known as the
“Lisetta”—1211—is a charming
design, very simple yet very dis
tinguished, and extremely well
adapted to plain rich silk, or soft
woolen materials, trimmed with
velvet and embroidered galloons.
The revers at the side are fasteri
ed back with simulated button
holes, made with silk piping upon
satin or velvet, and the buttons
are of the new onyx, with metal
rims, which show to so much ad vantage upon the rich dark shades
of silk or woolen fabric. Six
yards of material, twenty-four
inches wide, will make an over
skirt of this description entirely
of the same fabric; but one yard
and an eighth would be necessary
for the revers, if it is required of
a different fabric. It may be re
marked, however, that the revers
can be omitted altogether if de
sired. –
A suitable basque for spring
woolen materials, particularly for
mottled serge, debege, and the
like, is the “Cuirass” — 2637.
This is plain, but well fitting,
with upright … seams and collar
composed of plaitings of silk. In
stead of plaitings these may be
outlined in flat bands, or pipings,
if desired; or the ruffles may be
turned the other way and made
upright. Detail of this kind is
always a matter of taste, and may
be arranged to suit individual
We give three out-door gar
ments, two of which are adapted
to spring or suit materials. The
“Garde-Française” coat—1030–
is the most dressy of these, and
particularly suitable for those who
can indulge in the variety in cos
tumes, or are not beyond the age
for a little coquetry. It is par
ticularly adapted for a dark shade
of bourette cloth, with faille trim
ming and vest, and frosted gilt
buttons. It will be observed, that
the buttons upon the vest and
coat are small, and that the style
depends for its somewhat striking
effect altogether upon the cut and
finish. The material, therefore,
of the coat should be handsome ;
the ground color dark ; the linings
of the fronts, at least, all silk;
the same as the facing for the col
lar, cuffs, pockets, and lappels. It
should be worn with a skirt, trim
med in front very high, and the
back somewhat like that of the
“Seraphine’’ polonaise. The
amount of material required is
very small—four yards and a half
for the entire garment, or three
and a quarter for the jacket, and
one yard and a quarter for the
vest, facing, etc.
The “Geraldine ” — 1026 — is
simpler in its effect, but very
stylish. The buttoning of the side
forms upon the back outlines the
figure very gracefully, while the
vest, in front, may be omitted,
and the revers retained at pleas
The “Ottilie’’ Paletot—1031–
may be used as a design for an in
dependent garment, or as an ac
companiment to a suit in spring
materials. Its style particularly
adapts it to traveling dresses and
costumes intended for service.
The finishing should be a binding
of silk, or galloon, and buttons of
stained vegetable ivory, or smoked
• O e
Hunting Costumes.
Now that the English hunt is
being naturalized in America,
hunting costumes will become
matters of general interest to ladies
who ride on horseback, as well as
those who take part in the sport.
The usual hunting-dress for
English ladies is a habit composed
of the usual long, plain skirt and
basque, made of very dark navy
blue, or hunting-green cloth, faced
with light-blue or with green silk
of the same shade as the green of
the cloth. The buttons are small,
and usually of frosted gilt. A
small standing collar incloses one
of linen, and both are fastened by
a little gold pin, from which de
pend the square ends of a white
lace tie.
The hat is high, and trimmed
with a gauze veil, and an Ulster
with “Carrick “cape is strapped
to the saddle to be used as a wrap,
when riding to cover, which is
always done in an open dog-cart.
Niceties of Fashion.
A VERY graceful and pretty
addition to winter toilet is the
quilted cape of pink, scarlet, blue,
or lavender silk bound with nar
row white fur or with swans
down, and intended to take the
place of what are called break
To these, as to health, there is
no real objection, for dining-rooms
are often chilly, but to the swans
down-lined peignoirs now being
introduced, and of which the entire
waist is filled with the down, there
is a very decided one. They keep
the chest and lungs even of a
delicate and chilly person entirely
too warm, causing a certain amount
of weakening perspiration about
the back and breast, which, when
another garment, even quite warm,
is substituted for the peignoir,
results inevitably in giving cold.
It is by precautions against any
chill in the atmosphere so extreme
as these that robust persons be
come delicate ones. The peignoirs
are handsome in themselves, being
of a light kind of silk resembling
Japanese and lined with light
yellow or cream-colored Florentine
silk. The sleeves at the wrists
and the neck are bound with
The profuse use of swans-down
as trimming for many light ar
ticles, such as in London are called
boudoir-slips, and of which the
form is very varied—some being
short, some long—is not open to
the objection of being too warm,
though it is to that of giving bulk
to a figure however light. The
very becoming effect of the swans
down against the skin is an offset
to this, and it is disregarded for
the sake of the complexion.
A boudoir-slip of rose-colored
taffetas has a border of swans-down
and is lined and laid back with
“baby-blue.” Below the swans
down on the skirt is fluted muslin
making the garment reach to the
floor, while the still deeper under
skirt of white muslin protects the
down and flutings. The slip is
of the Watteau shape, and the
front being open exposes a tablier
of white quilted silk which is set
over the muslin skirt, and to which
the down on the slip makes a
border. Pink shoes, high heeled
with silver and with a border of
down accompany this toilette.
tround point Fichtſ
– º
Opera Caps.
AN opera cap is an innovation.
Indeed, to call it a cap, from which
appellation it might be argued that
it resembles what we have been in
the habit of calling a cap, is ab
surd. For what resemblance does
a somewhat large bow of gauze or
tulle, much puffed out, to be sure,
and flanked by a jeweled ornament
and a feather—marabout or ostrich
powdered with gold—bear to a cap?
Yet this puff, this cloud, held by
a jewel and winged by a feather,
looking much as though a beauti
ful butterfly had somehow found
its way to a tiny bank of snow,
is, forsooth, a cap
Your opera cap must suit your
toilette. It may be of blue, yel
low, rose-colored, or white gauze,
and the hue of your feather suit
ing. Your jewel may be any or
nament you fancy, if of proper
shape, and the ensemble of gauze,
feather, and jewel constitutes the
cap. Resting among the myriad
finger-puffs and curls this airy
structure is exquisitely becoming,
there being nothing serious or cap
like about it. It is, in point of
fact, the travestie of a cap.
One of the ladies accompanying
the Duchess of Magenta to the
representation of “Ernani,” wore
an opera cap which consisted of a
single puff of gauze fastened by a
jeweled butterfly and winged with
Embroidered Fichus.
VERY new fichus are mere strips of white gauze, beautifully em
broidered in variegated colors, out
lined to the shape of the neck, the
ends descending upon the breast,
and bordered with a double row of
fine old lace.
Another pretty little decoration
for the neck consists simply of a
handkerchief of very sheer and
delicate linen cambric, shaped and
doubled, and edged with Valen
ciennes or duchesse lace. This
handkerchief is brought close up
upon the neck, fastened up against
the throat with a gold pin, and the
two ends fastened upon the breast
with a second pin, instead of hang
ing loose.

Where to Buy.
OUR readers who desire to pur
chase patterns near by will please
refer to our revised list of Dem
orest’s 1500 Pattern Agencies
printed on the back of the full size
Pattern sheet in the present num
ber. Call for catalogue.
OF frillings for the spring trade
the only noticeable novelties are
those of J. & J. Cash; these em
brace a large variety of new and
tasteful patterns, ranging from
the plain edge to twelve differ
ent designs in lace edges which are firmly woven into the fabric.
The “Wild-flowers” pattern has
in addition to the pretty lace
edge, from two to five stripes
clothing, and make also dainty
rufflings for pillowcases, or shams,
or false sheets ; while the colored
frillings will be found most suita
ble to use on children’s as well as
ladies’ percale, cambric, or piqué
dresses, either matching or con
trasting with the goods. The col
ors are recommended to wash and
mends them to additional favor.
The neatness and compactness
with which they are put up for
sale renders them especially at
running across it, not unlike the
tape-bordered handkerchiefs; the
“American stripe” is like the
latter, except that the edge is plain
selvedge. The “Telegraph” pat
tern has two stripes of dotted
lines and plain edge, while the
“Coventry,” “Britannia,” “Broad.
tractive, and we predict for them
a large demand. They range in
width from three-eighths of an
inch up to three inches in the
white, both plain and lace-finish
ed; and from seven-eighths of an inch to three inches in colors.
These latter may be gathered or
way,” and “Victoria ” brands put on plain, the white margin
maintain their high standard of ex forming a facing.
cellence. As colors are coming so
strongly into vogue as trimming for
ladies’ and children’s white cloth
ing, the newest designs of Cash fril
lings have colored patterns woven
into the fabric, and these embrace
some eight or ten different styles of
figure; some are cardinal, others
blue and cardinal, or blue and yel
low, pink, sky blue, navy blue,
brown and yellow; these colors are
combined to produce the pattern,
or each color used separately pre
sents meat designs of Grecian and
Arabesque effects. As each edge
is completely finished with a strong
selvedge, and a strong drawing
string is woven through the upper
edge, these frillings, both in white
and colors, are most desirable for
trimming ladies’ and children’s

Ladies’ Street Carments.
Fig. 1–The “Garde-Française”
coat–No. 1030—made in bronze.
brown bourette woolen goods, with
velvet trimmings to match a cos
tume in the same goods. Price of
pattern, twenty-five cents each
Fig. 2. —A back view of the
“Garde-Française” coat, made in
the same goods as on Fig. 1. For
price of pattern see description on
Fig. 1.
FIG. 3.-The “Ottilie” paletot–
No. 1031—made in black armure
silk, trimmed with engraved pearl
buttons and ostrich feather trim
ming. The illustration of the back
is given elsewhere. Price of pat
term, thirty cents each size.
wear without fading, which com- |
Greek Circlets.
THE most beautiful ornament
for the hair which has appeared
this season, both here and abroad, is the Greek band or circlet.
The most superb of these triple
bands are of gold, set with dia.
monds, rubies, or pearls. An ex
quisitely beautiful set has stars of
turquoise; another, stars of garnet.
But, apart from those which are
jewels, the circlets are worn in
the shape of velvet bands, either black, cardinal red, or yellow.
with jet stars, circles, studdings.
leaves, or pear-shaped beads, and
also white ribbon bands with gold,
silver, or white jet set in like
studs upon the ribbon.
A very handsome set of Greek
bands is in tortoise-shell, bound on
both edges with gold. This shape
rests upon the head in a way
which admits of drawing small ringlets through the three sec
tions. This advantageously dis
plays the grape tendril-like coif.
fure now in vogue. In fair hair, Greek bands of jet have a fine
effect. Another set is of white
enamel with coral beads forming
flowers. This style of ornament,
though costly, is very durable,
and suits reception as well as ball
Fashionable Bracelets.
SLENDER bracelets are preferred
to wide bands. They are very
narrow bands, with a sort of brooch
in the back, showing a flower in
pearls, turquoises, or other stones,
or else a pendant locket; or the
back represents buckles, or a key.
or some peculiar device. The new
est bangles consist of a chain, with
pencil attached for making memo. randa; they are called shopping
— –
EACH mail brings us a host of
highly complimentary notices from
the press; we give the following
as an illustration –
A WoRk of ART-In spite of
all competition, D.E.M. o. R. E. ST’s
MonTEILY still holds its high posi
tion as one of the best of its kind
published in the world. It is real
ly a work of art, and in point of
typographical beauty, as well as
intrinsic excellence, it stands un
rivalled. The entire single num
ber covers sixty pages, and to
gether makes the largest in the country. We congratulate the
publishers that it has such an im
mense circulation, and can cheer.
fully say that we believe it fully
Loomis’s Musical Monthly.

Demorests’ Monthly Magazine, Volume 14 (Google Books)

Hunting Costumes.
Now that the English hunt is
being naturalized in America,
hunting costumes will become
matters of general interest to ladies
who ride on horseback, as well as
those who take part in the sport.
The usual hunting-dress for
English ladies is a habit composed
of the usual long, plain skirt and
basque, made of very dark navy
blue, or hunting-green cloth, faced
with light-blue or with green silk
of the same shade as the green of
the cloth. The buttons are small,
and usually of frosted gilt. A
small standing collar incloses one
of linen, and both are fastened by
a little gold pin, from which de
pend the square ends of a white
lace tie.
The hat is high, and trimmed
with a gauze veil, and an Ulster
with “Carrick “cape is strapped
to the saddle to be used as a wrap,
when riding to cover, which is
always done in an open dog-cart.
Niceties of Fashion.
A VERY graceful and pretty
addition to winter toilet is the
quilted cape of pink, scarlet, blue,
or lavender silk bound with nar
row white fur or with swans
down, and intended to take the
place of what are called break
To these, as to health, there is
no real objection, for dining-rooms
are often chilly, but to the swans
down-lined peignoirs now being
introduced, and of which the entire
waist is filled with the down, there
is a very decided one. They keep
the chest and lungs even of a
delicate and chilly person entirely
too warm, causing a certain amount
of weakening perspiration about
the back and breast, which, when
another garment, even quite warm,
is substituted for the peignoir,
results inevitably in giving cold.
It is by precautions against any
chill in the atmosphere so extreme
as these that robust persons be
come delicate ones. The peignoirs
are handsome in themselves, being
of a light kind of silk resembling
Japanese and lined with light
yellow or cream-colored Florentine
silk. The sleeves at the wrists
and the neck are bound with
The profuse use of swans-down
as trimming for many light ar
ticles, such as in London are called
boudoir-slips, and of which the
form is very varied—some being
short, some long—is not open to
the objection of being too warm,
though it is to that of giving bulk
to a figure however light. The
very becoming effect of the swans
down against the skin is an offset
to this, and it is disregarded for
the sake of the complexion.
A boudoir-slip of rose-colored
taffetas has a border of swans-down
and is lined and laid back with
“baby-blue.” Below the swans
down on the skirt is fluted muslin
making the garment reach to the
floor, while the still deeper under
skirt of white muslin protects the
down and flutings. The slip is
of the Watteau shape, and the
front being open exposes a tablier
of white quilted silk which is set
over the muslin skirt, and to which
the down on the slip makes a
border. Pink shoes, high heeled
with silver and with a border of
down accompany this toilette.

The Woman’s World …, Volume 2 (Google Books)

ITH the inauguration of the hunting season begins the life of the country-house, so different in every detail from the life led in town, or by the sea, or in the bland South in winter. For four months of the year a charming existence, at once free and ceremonious, is led all over France. Through its woods the brazen voice of the horn, softened by the wind and the trees, sounds with singular charm; through forest aisles dash cavalcades of picturesquely dressed men and women. The château that centralises the life of the neighbourhood is gay with stately revelry. To hunt the stag, to bring down in battues the partridges, pheasants, and hares, which till September have led their woodland life in security, furnish occasions for numerous festivities in which ladies take a leading part. Many women now share with men the life of sport; a number follow the hunt in carriages; all assist at the curée, the grand closing ceremony of the day. Breakfasts, luncheons, dinners, amateur concerts, comedies, and dances succeed each other in a bright round, and each festivity is marked by some special characteristic reminding the merry-makers that they are not in Paris; that their existence is spent in a setting of leafy woods, within hearing often of the murmuring sea. The chasse in our country is divided into two great branches, la chasse à courre (hunting), and la chasse à tir (sport with the gun). Compiègne, Fontainebleau, Rambouillet, Ferrières, are the principal centres of the healthy, out-door, joyous life of sport; but every province feels the influence of its activity when autumn begins. The French have traditions of hunting that extend back to the days when their earlier kings were expected to excel in the chase as in war. Our old families carried on the traditions of this noble recreation, and invested it with something of romantic magnificence.

Arriving guests were welcomed by the piqueur en chef, at the head of a dozen men, sounding the horn. The curée, or hound’s “fee,” in our old hunting vocabulary, when the famished pack received their share of the spoil they had run down, was held with stately ceremonial; the servants in grand hunting-livery stood in a semicircle in the courtyard, with torches in their hands. The guests turned out to see the sight; the piqueurs sounded a sort of brazen pibroch in honour of the family. These ceremonials, striking to the imagination, invested hunting with a barbaric magnificence which can never be surpassed, and which we now seldom equal. At one time the hunt at Chantilly took the palm for the whole country. The hunting-livery worn by the guests is still scarlet, white breeches, and Chantilly boots. One of the best hunting establishments now near Paris is at Bonnelles, near Rambouillet, the seat of the Duchesse d’Uzès. At La Gaudinière, where the Duc de Dondeauville kept a hundred and fifty couples for the stag, the hunting was not long ago another of the finest in France. All the neighbouring gentry coveted the right to wear the hunting-uniform of the house—a scarlet coat, dark blue breeches, and a waistcoat of chamois. Now perhaps the finest hunting is in the west. October is the month for pheasant-shooting and a beginning of sport with the stag. November is the huntsman’s month. The Princesses of the Orleans family set, or rather revived, the fashion on their return from England for their short stay in France, for ladies to follow the hunt, and not a few take an active share in the sport; the latter wear a regular costume de chasse. The costume of men and women for the daily routine of country-house life differs entirely from that of town. Its special characteristic is a blending of the rustic and the elegant. It is original in its cut, in its somewhat daring colouring, in its unconventional fashion. Its saving grace must nevertheless be the reserve with which originality is betrayed rather than insisted upon. In the morning the members of the sterner sex wear jackets, and in the evening coats of scarlet cloth. For shooting, wide knickerbockers, blouses, and caps of ribbed velvet or light cloth; the blouse is gathered into a leather band; gaiters cover the feet. For hunting, the colours of the hunting-livery of the house are worn with knee-breeches and high Wellington boots. This is simple enough; the ladies’ wardrobe, however, is far more complicated. A thousand dainty details of dress must be provided for, even in the depths of these country retreats. Sancta simplicitas / the cunning hand of the artist can alone attain to it in perfection. The apparent negligence is a cunning artifice, an effect laboriously thought out and painfully achieved. These quiet country gowns, demure in colour, unadorned, admirably fitting the wearer, are of their kind as elegant as are the costumes worn in town on occasions of state. For shooting, the ladies wear wide knickerbockers gathered into gaiters; a short, pleated skirt; waistcoat and square-pointed vest, half fitted to the figure. The skirt and vest are of olive-green ribbed velvet or felt; seal-brown, myrtle-green, or dark grey cloth may also be worn. The waistcoat is in piqué or leather according to the season. The head is covered by a cap, or a small Tyrolese hat, with raised brim trimmed with cocks feathers or heath. Some of the most intrepid huntresses, for the sake of greater freedom of movement, don, in place of a waistcoat, vest, and skirt, a blouse reaching down to the knees only, gathered into a yoke, and fastened round the waist with a leather band. For hunting, the usual riding-habit, fitting close to the figure, of black or dark blue cloth, with a high hat, may be worn, but the red cloth habit and hunting-cap are far more elegant, while the costume of greatest distinction is the tri-cornered hat and habit of the colour of the house’s hunting-livery. The morning indoor dress must be of the simplest. In an intimate gathering round the breakfast-table, ladies may appear in the pretty morning gown, loose and flowing like a tea-gown. In the afternoon, the walkingcostume is of dark cloth or vigogne, very sparingly trimmed with embroidery, braiding, or fur. A small jacket of seal-skin, astrakhan, or beaver may be worn over these dark cloth gowns at the al fresco hunt breakfast, or when following the hunt in a carriage. A hat, never a bonnet, needless to say, is the head-gear for the country. The fashionable hat this season is large and tri-cornered, made of felt or velvet, and heavily trimmed with feathers. The dresses are made with the redingote polonaise, closely fitting like a sheath; the bodices are small Toreador vests, or resembling those worn by the Breton women. The elegance of these gowns lies entirely in their line and fit. Perhaps nowhere is the hand of the master more needed than in the make-up of simple

costumes. In the country these cloth gowns are worn for afternoon calls. It would be in the worst taste to appear in silken attire, in velvet, or brocade in the lanes and woods. The utmost trimming allowed is an embroidered band circling round the hem of the skirt, or woven into the stuff, brightened here and there with a gleam of gold or silver braid. The skirts are round and flat, and will remain so during the winter season. At the dinner-hour our fair huntresses and rustic ladies lay aside their somewhat austere trappings, and appear clad in draperies of tender colour, and softly gleaming fabrics—thin supple silks—crêpe de Chine excelling all stuffs in the unrivalled grace into which it falls. Diaphonously light silk-muslins are the textures best suited for these dinner-dresses. The bodices are V-shaped, the sleeves reach down to the elbow. Delicate and dainty in every detail, there must yet be a suggestion of rustic grace about these dinner-dresses, distinguishing them from the costlier gala town dresses. The delicate suggestion of artificial simplicity, which hangs like an aroma about the costumes of Watteau’s ladies, may be taken as the ideal evening dress for country-houses. Such dresses I have seen, suited only for girls and women in the heyday and freshness of youth, made of soft white or tender rose crêpe veiling draped over a dress of white lace, knotted here and there with pink ribbons. Crêpe de Chine, in delicate shades of sulphur, lilac, azure, beryl-green, mossrose pink, cream, and ripe corn, is much worn. It may be plain or embroidered with scattered posies of blossoms, or in garlands of many-coloured flowers. The suppleness of this exquisite fabric, and the pretty rustic grace of its floral embroideries, adapt it, notwithstanding its expensiveness, to country wear. For more ceremonious occasions, such as a concert or dance to which guests from the neighbourhood are invited, silk dresses may be worn. Sometimes these silk dresses have no trimming but that of draperies tied with flowing knots of ribbon; sometimes they are richly adorned with lace, jabots of lace cascading in a light foam down the bodice to the hem of the skirt, panels of lace, and high lace Medici collars rising at the back of the neck. Foulard, which was suited to dinner – dresses, and to dresses for the seaside casino during the summer, ceases to be fashionable in October. Charming in summer, it looks out of place in autumn. Light, plain wool becomes then infinitely preferable. I have seen some thick white barège, strewn over with paillettes of gold, made into charming late-summer gowns. Before passing to the country ball-dress, I must describe a charming seaside costume, made by the Maison Dalsheimer. Of striped light woollen material, its simple lines followed those of the figure. The round skirt was trimmed with five insertions of lace, placed at regular intervals. The lace was repeated in the bodice in bretelles, and in insertions down the elbow-sleeves, which were placed high on the shoulder, and finished off with a dainty little puff; a long sash was fastened behind in three loops. The hat, from the Maison Virot, was of drawn muslin, edged with a flounce of black lace. In front was placed a tuft of dried oats, quaintly tied, with

TPariz Eazhionz.
the exuberance of colouring, marked many of their
costumes, giving to strangers, I fear, a poor idea of our
modern costumes.
In jewellery, the case was different. Our foremost
artists in gems—for artists Bouchiron, Vever, Dubot, and
Coulon must be called—vied with each other in the
display of jewelled sprays, so delicate and supple as to
suggest freshly picked blossoms touched by a fairy’s
wand and turned into jewels. The Exhibition of 1867
showed us the artificial flower, so skilfully imitated as to
rival the charm of the natural blossom ; the Exhibition
of 1889 gives us the jewelled flower modelled on nature,
and preserving in its radiant transfiguration all the
suppleness and grace of its prototype. Anemones,
lilies of the valley, daisies, orchids, wild roses, carnations,
cornflowers, honeysuckle, a spray of hop-leaves, and all
the pageantry of the woods, the meadows, and gardens
are imitated by our jewellers, and the display inside
these glass cases might well suggest a glimpse caught of
some fairy realm, where trees and flowers grow in rubies,
diamonds, and emeralds.
Diadems and other ornaments composed of many
coloured stones lack, as a rule, that refined radiancy of
effect which is, I think, the highest charm of jewellery.
Some aigrettes that look like miniature fireworks; some
jewelled wreaths of fairy-like lightness, carried out
in varied jewels, redeem the failure too often accom
panying the use of many-coloured gems. There are
also some pretty bracelets. One especially, from Vever,
attracted my attention. It is composed of a series of
miniature pictures illustrating the epic story of Colum
bine and Harlequin, wrought in enamel and jewels.
Nothing, it seems to me, can compare with the luminous
harmony attained by the mingled flash of two gems;
rubies and diamonds, emeralds and brilliants, sapphires
and pearls. To add to this a more complicated lustre, is
to run the risk of destroying the effect of a simple
melody, played in limpid flame.
Summer is not so much a season for the wearing of
gems as are the autumn and winter. For the forth
coming balls and dinner-parties in country houses, the
new-fashioned jewel is the necktie necklace, composed of
a flower in diamonds, clasping at the throat the stalk
which winds round the neck. A peacock’s feather in
emeralds and diamonds may also be thus worn. This
costly ornament
has just that
touch of whimsi
cal grace which
makes it belong
to the passing
fashion of the
From jewels
we passtodresses,
the most import
ant item of fe
minine apparel.
Foulard, that
most supple and
graceful of fa
brics, with all its
charming delicacy
of gay and ten
der colouring, re
mains in favour
for demi-toilettes.
Lace holds its
sway over every
other sort of
trimming. It is
used in forming
cascades of tiny
flowers; in inter
ludes and undu
lating draperies.
Morin – Blossier’s
show – rooms are
full of dain ty
gowns destined to
be worn at au
tumnal gather
ings. In some
of these dresses
the tablier, the
waistcoat, and the upper part of the sleeves are trimmed
with insertions of lace; three or four fluted flounces
edge the skirt and are repeated on the collar of the
bodice. Another favourite make, very simple and coun trified, was a round skirt, above the hem of which cir
cled five insertions of lace. The heart-shaped bodies, a
la vierge, opened over a guimpe of lace. The draped
sleeves were striped lengthwise with lace insertions. A
wide watered sash matching the foulard was fastened
Valenciennes and Chantilly laces are used for the
trimming of these gowns. The happiest combinations of
colour are black and white stripes, white circled with
blue, red and black, maize and white. Yellow in its
various shades, and white, form one of the most dis
tinguished arrangements of colour.
For evening wear, crêpe de Chine and Indian gauze
may be used in conjunction with foulard. Crêpe de
Chine falls in folds that would enchant a sculptor. Some
of the most graceful gowns, into which this fabric largely
entered, were adorned with foamy panels of lace with
thick jab o ts
mixed with rib
bon, fastening the
bodice crosswise.
Fine embroide
ries in coloured
silk tinged with
gold, were placed
at the hem and
in bands, or were
scattered over the
gown, giving a
crowning touch
elegance to
these costumes.
will be m ore
than ever worn
this w in ter.
Worked in the
stuff, or in magni
ficent gold braid,
in the Empire
and Louis XIII.
styles, they will
brighten with
their metallic lus
tre the dimness
of cloth and vel
vet. The some
what sober tones
of plum – colour,
dried raisins, old
blue, and water
green, are likely
to be the fashion
able shades. Furs
will once more
border the skirt,
and edge thefront
of the bodice. Astrakhan, beaver, and sealskin will be
the favourite furs.
Plain skirts mounted in deep pleats behind, slightly
draped in front, a few lifted on one side, will be the order
of the day.
Tartan dresses in soft wool, harmonising with
autumnal tints, are putting in an appearance. One of
grey and blue, bordered with a gathered band of white
silk, was a happy example of our artist-dressmakers’
skill in giving a touch of Parisian grace and originality
to the make-up of the most ordinary material. A
chemisette of white surah was gathered into a wide sash
of black watered silk. The jacket was a quaint and
original little vest apparently composed of three jackets
‘.”. |
‘. W. of
‘ “.
placed one over the other, cut square in front, each edged
with white silk. The vest-bodice remained in favour
during the warm weather. Cloaks are coming into
fashion again as the cold sets in.
I have seen some very dainty and stylish dolmans,
some pretty wraps for evening wear by the sea and for
country walks in the chill October weather. These new
dolmans are called the “collet Directoire.” The collar is
an adaptation of the Marie Médécis collar, rising up close
to the ears, and finished off with a delicate rim of feathers.
The sleeves are set high at the shoulders; the front of
the mantle is long and pointed. These picturesque cloaks
are usually made of velvet, embroidered or braided, and
lined throughout with silk of delicate shades. The
cushion worn at the back of the waist has entirely dis
appeared, and the flow of draperies follows the lines of
the figure. Sleeveless jackets are growing more and more
in favour. There is something very picturesque in these
vests. The old masters, it may be remembered, constantly
made use of the sleeveless upper robe, the sleeves repeat
ing the colour of the under-dress.
One of the prettiest of such vests was made with a
full-pleated blouse of pale rose-coloured gauze tied at the
waist with a profusion of pink ribbons, the full gauze
sleeves gathered close at the wrist. Over this was worn
a sleeveless jacket of mignonette-green velvet, embroi
dered in dull silver.
We must now turn our attention to hats and bonnets.
The Maison Virot has designed the Mousquetaire hat,
large and flat, for the hunting season, but it is too early
still to speak of head-gear destined only for November
wear. The hats that are to be worn during the late
summer and early autumn are very picturesque and
simple. I noticed several hats in the Virot show
rooms; and among them were a country hat, of paillas
son straw, plainly trimmed with black velvet bows, and
a quaint hat like a Picardy head-gear, of white pleated
crêpe, veiled with black net, held in its place by knots
of black velvet, and trimmed with raven’s wings.
hat of Flemish
straw was bor
dered with a wide
frill of black lace;
an ample knot of
grass-green velvet
was placed in
front, surmounted
by black feathers.
A hat of trans
parent black
straw was draped
with Chantilly
net, and a gold
ribbon encircled
the crown; the
feathers and aig
rette were black.
A picturesque
Louis XVI. hat
was lifted at the
back by knots of
maize faille and
lilac velvet; a
large maize
feather touched
with lilac wreath
ing the crown. A
rustic hat with
wide flat brim
was trimmed with
knots of black
and jonquil vel
v et; a sm all
pheasant lay flat
in the crown.
Other hats,
large and fanciful
in shape, with
lace falling over
the brim, and feathers either falling from the back
or massed on the crown, might be seen at Virot’s. During the summer every head-gear seemed garlanded
with flowers; never did fashionable women more re
semble wreath-crowned votaries of the goddess Flora.
It is, alas ! easy, however, to vulgarise the use of artifi
cial flowers, and to manufacture blossoms that are but cari
catures of Nature’s blooms. There is setting in a reaction
against the floral hat and bonnet, and feathers are once
more regaining their ascendency. No hats are so pic
turesque as those which depend upon the softness of
plumes for their adornment. In the Louvre and at
Versailles, in the portraits of fair women painted by
Rubens, Lacroix, Mme. Lebrun, and other illustrious
portrait-painters who understood the resources of the
head-gear as a setting to the face, the plumed hat plays a
great rôle.
A number of revived forms—attractive in shape and
very becoming—
are now worn,
and will continue
to be worn during
the winter. The
delicate shadow
cast over the brow
and eyes must al
waysmake the hat
more becoming
than the bonnet.
A Marie Stuart
head – dress, half
hat, half bonnet,
attracted my at
tention. It came
down in a point
over the forehead,
and spread out on
either side in
sweeping lines.
It was composed
of scarlet crêpe,
bordered with
black lace, and
trimmed in front
with a chou of
lace and black
A similar hat
was of turquoise
blue crêpe de
Chine veiled with
black Chantilly
net and edged
with a border of
lace. Knots of
blue ribbon and
black butterflies
rested outside. A
graceful and ori
ginal hat was of English straw; wide and flat in shape,
it was covered with billows of white gauze, tufted here
and there with black velvet. Beneath the white gauze
lay great pink and black poppies.
All these hats require the hair to be dressed low in
the neck. During the summer heat, however, our artist
hairdresser Moirat designed, for coolness’ sake, the
shorter plaits. For evening parties there is a marked
tendency to return to dressing the hair high on the head,
brushed up from the neck. Next winter will see a
return to the long side-curl and the long plaits.

The makings of fast fashion

I suspect when it comes to getting clothes done on time or soon enough, there’ll always be ways of getting it done as efficiently as possible. Moreso with the lack of sewing machines that it’s likely seamstresses and tailors would’ve used multiple threads at once on the same garment. I could be speaking from personal experience but it does make sense.

They could’ve also relied on consenting assistants as well. That was like that for centuries as sewing machines came about more recently and even today some people still sew by hand. Though I suspect whilst it still takes time to sew clothes by machine, it’s faster than you do it by hand. So it seems parsimonious to say that sewing machines necessitated faster fashion.

This would be further refined by the 20th-21st centuries where people want the latest clothes even sooner. So the demand has consequences that people try to mitigate at the very least.

Fashion trends

Though it’s not necessarily wrong to follow fashion trends in theory and in practise, there are cases where it may not suit somebody’s personal sensibilities or what they’re brought up with. Whatever that means. Somebody might wear shorts not because it’s in fashion but because they wear it to do sporting activities like football and running.

If this person’s raised to wear shorts to play sports, that’s what they’ll think of those. Likewise if everybody’s going for let’s say hot pink but you prefer peach pink, do what you like. There are even celebrities who don’t even care about fashion trends. So if you don’t follow fashion trends much, you’re in good company.

Especially if they know where you’re coming from. So you don’t have to follow trends if you don’t want to or simply don’t care.