But my chat about the illustrations has diverged from its course, though I am very glad to record here the disappearance of certain prejudices that used to be rampant amongst us. False teeth and false hair were things that one never dared to own up to having. Now we know that if we wish to retain our health and strength we must replace the teeth we have lost, and we have also learnt that a pleasant and taking appearance lends us favour and influence for good, and that it is our duty to attend to this matter as much as to any other, from higher reasons than from those of mere vanity.
IN THE HOUSE AND OUT.
In “Three New Coats,” the centre figure wears a black Velours du Nord, or velvet coat, which is cut quite without fulness at the back, and has a chinchilla collar and wide revers. The skirt is of grey, and it is also trimmed with narrow bands of chinchilla, put on in a pointed shape in the front, and going round the edge of the skirt at the back. The hat is of black velvet and white feathers, with paste buckles. The jacket of the next figure sitting down is made of light brown cloth, trimmed with bands of lighter brown braid. The collar and revers are made of a darker shade of brown velvet and edged with beaver. The skirt is of the same cloth, but made in quite a plain fashion. The standing figure has a coat made with one of the new capes fitted to the shoulders and neck. The dress itself is of rifle green cloth, made without trimming, and the coat is short. The front is a plastron edged with dark beaver fur, and trimmed across with cords to match the green of the dress. The hat is green, with white feathers.
A great number of white fox boas and muffs are to be seen this winter, and the figure in the illustration we have called “In the House and out” wears one of them. They are very becoming and pretty, and look well with everything. In this case the toque is made to match the boa and the gown, which is of violet velveteen. The new boas of this winter are made flat, not round, and they are lined with either satin or a pretty fancy silk, so they protect the shoulders in a slight degree. There is also white Tibet lamb, which is now dyed to resemble the blue fox. The second figure, dressed for indoors, wears a dress of the new red. The collar and revers of the short Eton coat are trimmed with black satin ribbon. A silk vest underneath the coat is made of a red silk broché with a black pattern on it. The skirt is trimmed with a black ribbon, and has a rounded front, which is brought up as far as the waist at the side. There is a lace necktie and some trimming inside the high collar. The leading colour in Paris just now is red, and the trimmings for it are generally bands of black velvet or satin. For the red hats to be used with these dresses Parma violets are the favourite trimming.
The shade of red worn may be best described as a hunting pink, in fact, a real scarlet, and as it must always be trimmed with black, astrachan is in great favour for its decoration. So is black velvet, and thus toned down, it cannot be called ugly. It is, moreover, very becoming to people with good complexions and fair skins. The small red jackets are seen very frequently worn with a skirt of another colour, which really ought to be black, and which harmonises with them best of all. These little jackets are worn by the best-dressed people, and are especially nice and bright for young girls, not in their teens, but in their twenties, perhaps.
Never has velvet been so popular as this winter, and, of course, in naming velvet I include velveteen, which is often of so good a quality that it looks like the real thing. I have always found a good velveteen an excellent investment, and if treated with care, and used as the “going-out-of-doors” dress which it really ought to be, it is very valuable. Every tone and shade of colour can be obtained in it, and as velvet blouses are still in fashion, we can select with ease either for day or evening wear.
Our third illustration shows a single figure wearing a costume of grey cloth, which is cut into what is called by some of our writers an eel-skin skirt. But I observe that in France it is merely called a fitted skirt, which really means that the dressmaker must bestow just as much trouble upon it as she does on the bodice, and that you must distrust everyone who wishes you to believe otherwise. I notice that paddings for the back and hips are already for sale, and much advertised, but this tightly-fitted skirt is not for the short and stout, nor for the tall and very thin. On neither of them can it be esteemed a success. The dress in our illustration is in grey cloth, with black velvet trimmings and bands, and steel ornaments, a delightful combination of colour. The back of this dress is really princess, while the front has the style of a short double-breasted jacket, very short. This combination is one of the new cuts of the season. The shaped flounce is headed by rows of black velvet, and the sleeves are made with square cuffs, not the much-worn “flare” cuff. The toque is of grey velvet, white silk and feathers, and grey tips, with steel ornaments.
One can scarcely see any real change in the dressing of the hair. All that one can say is that there is a decided tendency for it to go lower on the head, and the present hats and bonnets really answer better when the hair is rather high. There are plenty of small ornaments for the hair to be seen in the shops, but the most popular of all for the evening is, I think, the black velvet bow.
The favourite perfume is still violet, and Violette de Parme seems to be the correct kind. I note that the pretty black moiré ribbons with slides have now been applied to the muff, and have taken the place of muff chains with many people.