25 June 1881 - 'Seasonable Dress and How to Make It'

This month we learn that the Little Black Dress was as integral a part of a woman's wardrobe a century ago as it was today. 

Last month we mentioned the pretty old-fashioned ginghams had returned to fashion under the name of "Zephirs," and that they fully retained their former qualities of excellent wear and washing. Since then we have seen some charming dressed of pink, both plain, striped, and checked, which we must mention in the first instance. We always think how pleasant it is to be young, and to be able to wear a pink dress; they seem so becoming and suitable to the brightness of the fresh springtime of youth, that one feels glad when they are in fashion; and we like to clothe our human flowers with some of the lovely hues that our Maker uses for His "flowers of the field." Flowers and young girls should ever resemble innocence, purity and beauty.

These pretty dresses should be simply made. Both last month and this we have given suitable sketches for them – and the gatherings at the neck, sleeves, and front form a very pretty style. Nottingham lace is a good trimming for them, or Swiss embroidery; but they are quite as often made up with plaitings of the same, or bias bands turned up as a border, and sewn down on the outside with the sewing-machine. The bodices are made full, and gathered at the waist and neck, like the small figure in the June number.

The present seems to be an excellent time for purchasing black silks at moderate prices, and as a good black silk is unquestionably one of the best and most serviceable of dresses that any woman or girl can have, much care should be exercised in its selections. As far as we can see, about 5s per yard should purchase silk of good quality and wear, and there are several of the very best London drapers who both sell and recommend black silks at this price. We advise, when it is possible, that everyone who requires one should go to some well-known shop, and be guided by the advice there given in choosing. Very thick, ribbed, heavy silks should be avoided, and one of lighter texture be selected, as bright-looking on the surface as can be found. An old lady of our acquaintance used to choose black silk by holding it up to the light. If it looked of a greenish hue the silk was a good one, and she knew it would wear well. Another friend of ours takes up a fold of the silk between her finger and thumb, and, pressing it, makes a crease. If the crease should come out easily the silk is a good one; but if it remain, or should make a whitish mark, beware of purchasing it. We have ourselves found, however, that at a good draper's they will usually recommend a good article. Of course we make up our black and other silk dresses just now under great advantages, false or foundation skirts being used, generally made of alpaca, on which the silk may be suitable mounted as trimmings, kiltings, scarves and draperies; so we save the silk to the extent of four or five yards. Ten or twelve yards are nor generally sold for an ordinary short costume, so if we manage to make it at home, it will be seen that a black silk gown is within the reach of a very modest purse.

From an American source we glean a very clever and economical idea – i.e., that of having several plastrons or fronts to our "one black silk," which completely change its appearance, and give us walking, dinner, and evening dresses in one gown. The dress must, of course, be made en princesse in front, or the plastrons cannot be buttoned on. It forms the front of the bodice, and the apron or front breadth of the skirt, and is edged with button-holes if the buttons be on the dress, or hooks and eyes if preferred. One plastron may be of black velvet, edged with lace, or plain; high in the neck, and finished by a black lace frill. Another, for evening wear, might be of red, old gold, or violet satin, covered or trimmed with black or white lace, opening square or heart-shaped at the neck. A third might be of puffings or gathers, in damasse silk, brocade, or satin, to make it into a simple yet stylish walking-dress. A cuff or trimming  for the sleeves may also be arranged to match each plastron, such as a pair of long velvet cuffs to button on over the sleeves, with the black velvet one; or a pair of puffed sleeves to be sewn in with the coloured evening dress. The buttons may be of jet, and if they to be attached to the bodice and skirt they will do for every plastron.

Amongst the great boons to our clever readers, who are able to help themselves in trimming and altering dress, the fashionable Madras muslin must be named, a material which can be made useful in so many ways and over so many styles of dresses. The last time we saw an old black silk "done up," Madras muslin was the material used, and several of the pretty self-coloured sateens f last year have been remodelled this season with the aid of a few yards of this moderately-priced stuff. For an old half-worn coloured silk it is the very thing, and with a scarf tunic and draperies, gathered and puffed sleeves, and front, it becomes quite a new dress.

The fashion of coat bodices of different materials is a very useful and convenient one. They are made of velvet, velveteen, velvet broche, striped and chessboard velvet and satin. These last are all cheap now, as they are gone out of fashion, and the present stock is all reduced. Steel or silver buttons, or jet ones, are pretty, and no other trimming is requisite with them. We have recently seen some young ladies in the park in coat-bodices of red, or dull crimson cloth, with tiny gold buttons. These are worn with black silk, satin velveteen, or well-trimmed cashmere skirts. Also with cream-coloured and any fancy sateens which have red in the pattern. Perhaps this idea may be considered a happy one for a tennis club uniform, or a dress for the frequent lawn-tennis garden meetings, which constitute the chief amusement of the summer.


The Alsatian bows seem very great favourites with young girls, as well as older ones; and we have seen several very pretty turn-down hats decorated with one of these graceful bows on the top of the crown. They also form the great ornament of the favourite "Granny" and "Under the window" bonnets, which seem to be worn everywhere excepting in London.

Our illustration gives a lively party of girls enjoying themselves in a shrubbery. The dresses are all useful and pretty summer ones, which nearly any girl could arrange for herself. The figure standing by the table, with her hand upon it, wears a gingham, or zephyr costume, of pale blue, the trimmings being of Swiss embroidery. The bodice is gathered in front at the waist and on the shoulders; the sleeves are in rows of fine puffs all the way down; the over-skirt consists of two pointed shawl-shaped corners.

The second figure is made of cashmere and satin, the polonaise being of cashmere and the skirt of the same, trimmed with longitudinal plaitings of satin. The cape is of closely gathered satin, and is edged with a beaded fringe. The hat is a very small straw one with undulating wavy edges, and a spray of fern leaves, roses, and black velvet at the back.

The third figure wears a Mother Hubbard cloak of cashmere to match her dress, while the dress of number four is a brown beige, made up with a plaided or "shepherdess checked" beige of a darker colour. The hat is of white straw, trimmed with brown velvet, and brown ostrich tips shaded to yellow.

The young lady who holds a branch, and faces the reader, is the wearer of one of the pretty old-fashioned gowns which have been revived from the fashions of our grandmothers. Any light-washing material may be chosen for it. Each of the four flounces are headed by a puffing of the same, with a very small amount of fullness. The bodice is full, and has a band on the waist, while the pretty fichu is crossed over it, which fastens at the back. The small leather satchel which hangs at the side represents one of the newest and most fashionable shapes in which they are worn.  It is made of yellow leather, and has a leathern girdle, to hang round the waist.

In the second illustration, we find an old lady and a very little girl; both are intended as suggestions; for, in spite of ours being a girls' paper, there is no doubt but that our readers include many who are no longer girls, and a considerable number of mammas who are glad of a small bit of advice. The cloak of the elderly lady is of silk or cashmere, and that of the little girl a "Mother Hubbard" of grey beige, with trimming of blue. However foolish-looking we may think them as garments, there is no doubt that little girls do wear them, and look very well in them too, but they are only suited to the promenade and the park, and for very best Sunday habiliments.

The illustration given of a cloak is one suitable to any age, and which is worn by quite young girls. They sometimes match the dress material, or are of black cashmere and satin, or of satin only. A thin material like grenadine will probably be used as the summer advances, if it should prove pleasant and warm.

The shaded or ombre satins, and aerophane crapes are much used  for the tops of toque hats, and they are very pretty indeed, as well as becoming. The gathered edges of the hats are made of black velvet.

21 May 1881 - 'Seasonable Dress, and How to Make It'

Welcome back! 

The prevailing tendency of the summer materials is towards extreme softness and lack of "dress." Everything hangs in graceful folds, and more drapery is used than has been seen for some time past. Gathers, or as they are now called, "reevings," form the most popular way of making up all the thin materials, such as nun's cloth, grenadine, zephyrs, or ginghams, as they were once called. The little girl's dress in our monthly illustration shows the newest and prettiest way of making in this manner. It is gathered at the neck, waist, and sleeves, and the style is as suitable to sixteen and eighteen summers as to six. The "zephyr cloth," or old-fashioned gingham, is, as it always was, a delightfully pretty and becoming dress for all ages, and from its excellent washing and wearing qualities is extremely economical, and it costs from 1s 2d to 1s 4d per yard. It is made in pink, blue, and a soft grey. The favourite trimming for it now is one of the Nottingham or "Calais" laces, which are coarse in texture, but very strong, and wear well even for children, while they are moderate in price, and do not add to the trouble of washing.

The numbers of non-washing materials prove how useful they were found to be last year, and though the patterns are improved, the way of making up a figured sateen or print, with a plain petticoat and trimmings, is unchanged, the ground of the former being generally chosen as the colour  for the latter. This style is a great help to those who have old summer dresses to alter and enlarge to suit growing girls, because if the old dress be figured, a plain sateen, gingham, or cotton can usually be found  to go with it. A small bodice can be enlarged by putting in a gathered front and back, and a circular collar-like piece can also be added at the neck to increase the length. A puffing at the shoulder and elbow will give length to the sleeve, and the skirt may be lengthened by means of a kilted flounce at the edge. A little consideration and cleverness are needed to make these changes, but I hope that the readers of THE GIRL'S OWN PAPER have improved so much in the art of dressmaking during this last year that they will be able to accomplish any alterations required. Of the excellence of their needlework there can be no doubt, as it is sufficiently proved by the work sent in to the "plain needlework competition."

Dresses ornamented with crewel embroidery are as much used as ever, although the manner of its application has slightly changed. The embroider is applied to a pointed plastron down the front of the bodice, or to a circular yoke at the neck, into which the top of the bodice is gathered. An embroidered band is also used, and similar bands on the sleeves, with narrow puffs in the centre of every second band.

The long "Newmarket coat," as it is called, shown upon the second figure, supplies the most stylish shape for ulsters of light summer cloth, and also for those useful dust cloaks which are made either of thin tweed, pongee, or tussore silk, or alpaca of quiet colours. For travelling their use is nearly imperative, as they protect the dress from being utterly ruined by the dust and blacks of the railway and steamer; while for those who walk much, or have to make shopping expeditions at home, they are equally useful. The turndown hat that is worn by this figure shows a quiet ladylike shape for morning wear.

The third figure wears a handkerchief dress of summer alpaca, or a thin woollen nun's cloth. The method of making is clearly shown. As these handkerchiefs can be purchased separately at so much a piece in all good drapers' shops, they form an economical means of doing up old dresses, for which the style of the illustration might be adopted as a guide. The handkerchiefs require no trimming, and are simply hemmed round, either by machine or hand.

The fourth figure shows the present style of the jersey, which continues to be worn by young girls, but not by married nor older women. This jersey is of dark blue merino, very thin in texture, the overskirt being a plain shawl-shaped scarf, tied at the side; the under skirt is of plaid. The material is a very light tweed, the colours dark blue, green and threads of yellow and red. The plaids used are of the most quiet and modest description, and they are in keeping with the present quiet taste in colour. This figure wears a "Mother Hubbard," or more properly a "Grannie" bonnet. These will be made to match the summer dresses, and are gathered, or drawn in deep puffs in front, the crown being high and loose. The last new shape of this kind is called "Under the Window," and is copied from one of the bonnets in Kate Greenaway's book.

The summer costume worn by the young lady gardening may be made of sateen, cotton, batiste, or pique, and is trimmed round with Swiss embroidery. It is made with a full bodice and waistband. The skirt is decorated with two kilted flounces. A small coarse straw hat is worn with it, trimmed with India muslin and Valenciennes lace. Capes, resembling the top of the "Mother Hubbard cloak," are made for all washing dresses. The stockings and gloves are of plain colours, and will probably be worn to match the costume by those who can afford them. Dark blue stockings with coloured clocks are excellent for summer use, and if carefully washed in tepid, or even cold water, they do not lose their colour, but they must be wrung out till perfectly dry to avoid a "streaky" appearance, and look better if rinsed in salt and water.

Oxford shoes are worn, as usual, this summer, and are the most economical foot-gear for those who are obliged likewise to think of their pence. Care should always be taken to avoid extremely pointed toes, as no style could be more unbecoming, or injurious to the foot. The shoes should be selected of a long and rather narrow shape, instead of being very short and broad. Greater comfort will ensue if this rule be followed.

Galatea stripes have returned to fashion, the material being rather thinner than it was formerly. Plain blue is used  for the petticoats and trimmings; and the "sailor costume," a kind of loose blouse, is the favourite way of making. Very large round collars of lace or Swiss embroidery are much worn by all young people. Some very recent novelties are made of a plaid gingham, the edges being trimmed with Swiss embroidery – these would certainly keep the longest.

The most sensible, as well as the prettiest garments for every day out-of-door use for girls of all ages are the long, closely-fitting jackets made of black, grey, navy or drab stockingette cloth.

They are untrimmed save  for the buttons, and the neat rows of machine-stitching around them, and have collars at the necks. No hoods appear to be worn with them, and their whole appearance is most becoming and simple. Parasols and sunshades are made to match the cotton and sateen dresses, in pretty pompadour and Japanesque patterns, but those of our readers who must think of economy should select a parasol with a black ground, and any colour about it must accord with the principal dresses they are in the habit of wearing.

30 April 1881 - 'Seasonable Dress and How to Make It' by Dora de Blaquiere

This month, please wear warm underclothes even though the season has turned, the in colours of the season (blues and rich reds), and remember to pepper your furs before putting them away until next winter. 

Spring – with its violent and sudden changes, its storms and sunshine, which alternate so quickly as to render it most difficult to know "what to wear," even in our daily walks – is certainly the most treacherous and dangerous of all the seasons of the year. To young people, full of movement and life, it is especially so, as they more easily get overheated, and are more easily tempted to throw off winter clothing than their elders. A family physician of more than usual common sense, used to say in our hearing, years ago, that "flannel and merino underclothing should be left off on the 30th of June and put on on the 1st of July again," showing that in his experienced mind the wearing of warm underclothing must be the rule, not the exception. And so we advise all our young readers, even in summer, to wear some light-warm woollen material near the skin, and to adopt our old friend's advice about the non-dismissal of it at any time in the year.

We have spoken before now on the importance of an even temperature being preserved all over the body, and the great advantage the new combined underclothing gives in this way especially. All underpetticoats that are heavy and ungored should now be altered our dismissed, and others substituted which are light, warm, and well gored, and possess a deep well-cut yoke. The present excellent fashion of short dresses bids fair to prevail for some time, and there is a simple and very easy method of buttoning on a train below the flounce at the back, by which a morning dress can be turned into an evening dress with no trouble. Both dresses and sleeves, too, are wider, and so there is no need of endeavouring to preserve the ungainly, ugly fashion of extremely "tied back" skirts and skeleton arms.

In the methods of making there is extreme latitude allowed, for every style of bodice is worn – the polonaise, prettily draped, and buttoned or laced either at the back or the front; the cuirass bodice, and the coat bodice, which will be worn much as it was last year, as a sufficient to-of-door covering when the weather is warm enough. They are made in the same way, but the fronts are sometimes made in extremely long points, the back being something like a coat.

The three-figure illustration shows the present way of making girls' simple walking costumes. AT figs.1 and 2, the first wears a dress of serve, trimmed with velveteen, the colour of the serge being a golden brown, called *tete de faisan (pheasant's head), the velveteen being of a darker shade, and the woollen ball-fringe rather lighter, to match the serge. This figure wears a draped polonaise, with a scarf of velveteen below the waist, velveteen cuffs, and collar, and two leaf-shaped pieces of velveteen that fall below the polonaise over the two small flounces of the skirt. The hat is of dark brown felt, with trimmings o plush, and a feather tip of the lighter shade of the dress.

Fig.2 wears a dress of blue vigogne; the underskirt is of silk, or merino, with bands of galloon; the overskirt, which is of vigogne, opens in front, and is draped back on one side; the bodice has a plain long basque, edged with galloon, and buttoned down the front; the hat of blue straw, with a trimming of grey-green leaves to suit the colour of the blue, and a plush lining of grey-green, which shows above the forehead, where the bonnet turns up.

The third figure shows the new method of making the habit bodice this season. The fronts are pointed, the narrow basque being continued above the hips to the back, where it is pointed to match the front.

Fig.4 is a charming girl's dress, which is especially adapted to the altering and remaking of old dresses. The material of the illustrated costume was a basket-woven beige, the bodice and sleeves being trimmed with a plaid material of silk and wool; the "Black Watch" tartan, one of the new fancy French checks, being, any of them, very pretty. This idea may be carried out  for the mending and making up of old black dresses; the figured or checked material will then look best to be of old-gold and black, or red and black. The balayeuse, or kilting, should be either of old gold or red.

The bonnet illustrated at fig.5 is a small fancy straw, lined with a shaded silk, the strings being of the same. The flowers are those of the spring, which are peculiarly suited to the use of young girls – the daisy, the snowdrop, and the violet, to add a little colour to the group.

The new spring colours must not be forgotten. Yellows and browns, both together and alone, seem to be the favourite hues of the day, and a very pleasant mixture they prove. Then comes a lovely blue hue called *saphir, which, with *bleu de ciel and turquoise blue, will be much used all the summer. A beautiful red, called by many names, will be much worn; it resembles a cardinal, but is deeper and richer, and reminds one of the red which in those fierce and warlike days of the Franco-Prussian war the French introduced and named *sang de Prusse, with questionable taste. Then there are greys and drabs, without number, and a beautiful dark hue called *cassis, which is copied from the red currant and bears its French name.

All kinds of straw bonnets are worn, and all descriptions of shapes. Many girls choose the "grannie" bonnet, which was also worn last year, and indeed, Miss Kate Greenaway's pictures have pretty well used us to quaint old-fashioned poke shapes for young girls, and very pretty some of them look. There are plain white straws also, which exactly resemble some worn by our great-great-grandmothers, trimmed with plain blue ribbon which almost makes them into the bonnet of the little charity girls, or the queer shape worn at the Foundling Hospital.

Belts and bags of yellow leather and others of plush have been brought out for the use of young girls, and very useful and pretty they are. The fashion of wearing belts and buckles and gathered bodices is more becoming to young figures than to old ones, and they have one great advantage, they are easily made and fitted at home.

Capes of several shapes are to be worn, the prettiest of the new ones being the "Mother Hubbard, which is exactly like the top of the cloak of that name, cut off where the sleeves are put in, just at the elbow. The gathered top and the bow at the back with the high frill are all very graceful, and this cape, though small, gives much additional warmth in the chilly days of late spring. The cape and pointed hood of the Red River voyager and the Eskimo have also been copied for one o our new spring hoods, and very becoming they are. These little capes are easily made at home, and are much newer than the sleeveless jackets which have been worn so long.

Quantities of silk and thread gloves with many buttons are prepared  for the spring and summer.  For the benefit of those who do not know how to wash them, we will give an excellent way: Place the gloves on the hands and wash the hands with borax water or white Castile soap, as if you were really washing the hands. Rinse in fresh water, and dry as much as possible with a towel, keeping the gloves on until they are about half dry. Then take them off carefully, and fold them up so that they may look as nearly like new gloves as possible. Lay them between two clean towels, and press them under a weight.

And now we must give a few lines to the important subject of taking care of the winter clothes that we are about to lay aside  for the summer months. Furs must be shaken and well beaten with a small rod, so as to get all the dust and dirt out, as well as the eggs of the moth, which may be laid in them already. When this is doe, pepper them well with strong white pepper, and wrap them in linen, putting them away, if possible, in a tin box.

In regard to winter clothing, it is absolutely needful that it should be put away clean, and well brushed and beaten, if it is to be preserved from moths. All the greasy and dirty spots should be taken out, and in folding up the utmost care should be taken. A tablespoonful of spirits of ammonia or of hartshorn added to a teacupful of boiling water, covered up and allowed to cool, is an excellent mixture for taking out grease. Apply with a bit of sponge or flannel before quite cool, rubbing the spot briskly, having first brushed the dust well out of it. Rinse with a little clean water, and rub dry with a piece of the same as the dress, if possible. Dry in the air or in a sunny window. If the grease has not disappeared, go over again in the same manner, being careful to rub the same way as the nap of the materials. This recipe will take out grease, sweet or sticky spots, or anything that has not taken out the colour of the fabric.

19 February 1881 - 'Seasonable Dress and How to Make It'

A few seasons ago the backs of our dress bodices were ornamented, or, perhaps, rather disfigured, by either six or seven seams, two or even three side forms, and a back seam being the ordinary number. Now as we have once again reverted to the old style of one centre seam, as, although three joins are allowed, the best cut dresses show only the centre one, the other being brought so far under the arm as to be practically invisible. This change will be a great comfort to the amateur dressmaker, and will be an encouragement to those of "Our girls" who aspire to make their dresses at home. In fact, if the promised change should be brought about, of having no seams under the arms at all, the work of manufacturing a bodice will be quite reduced to half the usual amount. The spring models seem to portend a reduction in the seams of our sleeves as well, for some of them have no join on the outside, from the shoulder to the elbow, the top and under parts of the sleeve, so far, being cut in one piece. Of course, below the elbow the shape could not be retained if there were not a seam both at the back and the front. The sleeve is set as high into the bodice as ever, as everyone still appears to wish to look square-shouldered and narrow-backed. Of course, a certain amount of adherence to the prevailing fashions, so as to avoid attracting attention, is desirable, but we trust that all our young readers will avoid extremes in this, as in all other matters connected with dress. Of course, the natural place  for the seam is at the point of the shoulder, and there is no doubt that our dear Princess of Wales recognised this fact when she insisted on having her dress shoulder-seams cut like the Prince's coats; and banished all long and ill-fitting shoulders from her wardrobe.

The prettiest shape of the season for bonnets is, perhaps, the very sensible and moderate-sized "Granny bonnet," which has sometimes a round front, and at other times one bent down in the centre, after the fashion of the well-known "Marie Stuart Head-dress." We saw a perfectly plain velvet one, the other day, edged with a row of medium-sized black beads all round it, and no other trimming save two silk pompoms, and a cord of black chenille. This form is very suitable  for the mantles, as they are now worn, as they prevent the head from assuming that pin-head shape, so often found fault with when the very small Princess-shaped bonnet is worn with a large cloak. We think these "Granny bonnets" will probably be great favourites all through the summer, and they can be manufactured at home by a clever girl. They require to be seen, however, and the shape is easily obtained. They are all of one material - velvet, plush, or satin; or the crown may be lighter than the front. The sole trimmings often consist of the satin ribbon strings, which are placed along the joining of the crown to the front, where they are tied in drooping bows on the top.

A young lady's small-sized bonnet is shown on p.321, beginning from the left side in our monthly illustration. The bonnet itself is of brown straw, with brown velvet trimmings and strings, and a wreath of autumn leaves in brown, red and yellow. The dress is a brown Vicuna, made with a long over-jacket of the same, which is edged with a brown fur trimming; a small cape of the same completes the costume. The front of the tunic is pointed, and the back of it is seen on the next figure. The skirt is of silk, satin or other material, the small hemmed flounces being placed on a stout foundation of alpaca. We have before now pointed out the economical nature of these tiny flounces, and how easily an old dress may be made into an excellent skirt with their help, the foundations only being new.

Fig.2 wears one of the new jacket-mantles, which, having been so lately introduced, will be much in use for the early spring; they are a most useful form of out-door covering. The jacket has loose fronts with pockets, the back being plain at the top, and the plaited portion added on to it to bring it even in length with the front. The material is a black and white checked tweed; the round cape is similar in shape to those worn some years ago and called "Inverness." The hood is of tweed, lined with striped silk.

Fig.3 is a simple walking dress, of blue serge, or cloth. The skirt being kilted, with a shawl drapery as an over-skirt, the bodice is a woven "Jersey" of a colour to match the skirt; the cuffs and capes are of blue velveteen. This dress requires no trimming, and is easily made up at home.

Fig.4 is a pretty at-home evening dress. The skirt and pointed bodice are made of velveteen, the under bodice and pointed tunic of some thin material, such as striped grenadine, Indian silk, or plain white cashmere. The pointed cuffs are also of velveteen, and the neck is finished by a ruching of lace and a black velvet band. There are lace frillings at the wrist.

The fifth figure is intended to be a representation of one of the much talked of aesthetic dresses. Perhaps the more proper name for them would really be "pictorial," for they generally may be found to be adaptations from a famous portrait of some historic beauty of past centuries. Any endeavour to improve dress in this way is much to be desired, as such fashions are not changeable and foolish as many of the ephemeral styles of the present day, and may be worn always, without fear of the beholder's fault-finding. The skirt has three flounces. The polonaise is plainly cut and slightly draped; the sleeves have two puffs above the elbow, and the square cut neck has a gathered top inserted into it, and a stand-up, wired, velvet collar, with a lace frill inside it. The small velvet bag at the side has the wearer's initials on it, or an embroidered spray of flowers if preferred. The pattern would be easily cut out in paper, and the bag could be made by anyone, with little trouble. The "Queen Anne" table is illustrated in deference to the wishes of many of our correspondents who have made inquiries as to the method of making and covering them. The legs, as well as the table and shelf are all covered with plush, which is likely to sit best if sewn on with needle and thread. The fringe may be made at home, if there be any one who understands the netting of fringes.

Bodices entirely in longitudinal puffs are amongst the new spring introductions. They are very becoming to the slight figures of young girls, and hide their extreme thinness, which is very painful at times to themselves and those who see them. Some little care is needed to shape them well, but otherwise they can be made over the plain pattern usually worn, the material being first cut in a square piece, then gathered, and lastly tacked on the shaped lining, and cut to the form of it.

For serge, Vicuna, and cloth dresses the narrow silver and gold braids arranged in several rows, form a very pretty and simple trimming round the jacket and overskirt. They also are excellent to brighten up an old dress, in which category plaids must be also mentioned, and we have no doubt, as the spring proceeds, that many girls will be looking about anxiously for some simple and inexpensive way of making up their winter dresses again. The plaids are put on in flat bands, and the effect would be much heightened if they were edged by a cording of the brightest colour composing the bright lines in the pattern of the plaid. The material may be very inexpensive of which they are made, the effect being the same as if it had cost a great deal.

Much use is made of the inexpensive brightly coloured French merinos or cashmeres, which can be obtained as low in price as 1s 8d per yard, yard wide. We were shown a wonderful dress the other day made up by a young lady of very limited means, for house and evening wear at home. The short kilted skirt of black cashmere was made up from an old long dress, and the black "Jersey" had cost her 8s 9d. The ornamental additions consisted of two yards of deep red cashmere, at 1s 8d per yard, from which she had made a prettily draped scarf, placed round the top of the skirt, over the edge of the "Jersey," and also a collar and cuffs, which she had embroidered in black silk, with a pattern of ivy leaves. The small lace frill at the neck finished as pretty a little costume as could be desired, at very little expense. On account of their great usefulness, we think that "Jerseys" will continue to be worn by young girls for some time, but for older people they have very decidedly gone out of date. They were very trying to bad figures, and not generally graceful. Very pretty little necklaces of plush leaves, green or variegated, are now manufactured by young ladies for evening wear. They are made up on a wire foundation.

The next illustrations consist of a pretty cap and a fichu. The border of the cap consists of a closely-gathered lace, or net, with an embroidered edge, which is laid in a series of shells. We have lately given two illustrations of caps, as so many of our girls make those of their mothers; and we much desire to encourage them in their useful and kindly work and to induce others to follow their example also.

We likewise give designs for those most useful aids to economical dressing, fichus, as we notice that they are used more and more each month, and serve to turn a morning dress into a useful and becoming one for evening wear without much expense and with very little trouble. There are so many pretty laces just now, and though called imitation, they really should be properly named "machine," in contra-distinction to "hand-made" laces. We use so many things now that are manufactured by machine which used to be made by hand that it seems an injustice to call lace, over which the same change in its working has come, "imitation." The lace used for the neck is now laid in flat box-plaitings, or else side-plaitings, and two rows are preferable to one. The most lady-like hue is a deep cream colour, the very yellow and the very brown laces having both rather gone out of fashion, which was rather a pity, as they kept much cleaner in this island of damp and this smoke-curtained city, with its incalculable number of coal fires.

22 January 1881 - 'Seasonable Dress and How to Make It

Our patriotic feelings are naturally interested in the home-use of our own English manufactures, so we shall no doubt feel interested in knowing that the present taste for plush is a encouragement to English trade, as the plushes used are, to a great extent, of purely British manufacture. They are very beautiful both in colour and texture, and a plush bodice forms a most elegant and useful addition to the wardrobe of every girl, and is not too expensive to use to make an old dress look like a stylish new one. Plus is also a very excellent material to use to lengthen an old silk bodice which has become too short  for the present fashion, and it will quite metamorphose an old walking jacket if cleverly used. Plush collars and cuffs are put on dresses of another colour, and need not be used anywhere else on the dress. They are also used with out-of-door jackets and ulsters. They take about half a yard of plush; the collar is of a true sailor shape, square at the back, and rounded at the corners in front, where it fastens under a bow of plush or lace and ribbon. Black velvet sailor collars, cuffs, and pocket flaps are also worn on dresses of every kind of woollen texture and hue, and sometimes, instead of the collar, a long hood lined with a bright silk is added to the indoor bodice.

Black is not nearly so generally worn by day as it has been  for the last five years, colours being far more generally chosen than they were; and red, such as claret, wine, and plum colour, being in high favour, quite as much as they were last year. Satin is the favourite trimming with cashmere and serge, and also broche materials, but not plush, velvet or velveteen. Jackets and coat bodices are the most worn of any description of corsages for the daytime, but for evening dress the long pointed bodice is worn, both for young and old. Belted bodices have not become popular, and even with gathered dresses are not at all used. The new jerseys are very lady-like and pretty, and as they are now made there is nothing objectionable in them; they fasten down the front with a row of small cloth buttons very closely set, and large square collars and deep cavalier cuffs of plush are added; or else a hooded cape which matches the jersey in colour, or else it is of a distinct colour and matches the balayeuse, which now forms a part of every short dress.

A jacket intended for out-of-door wear, with the collar and cuffs and pockets in plush or velvet with embroidery on the edges, is illustrated at fig.1. This jacket will be most useful and popular  for the spring and will show our readers that the new ideas of the spring though a little different, have no very decided change in them.

The pretty bonnet illustrated at fig.2 is made of black straw and the new ribbed plush; it is as simple and unpretentious as possible, and could be easily accomplished by any girl. The plush on the bonnet is in the two full rouleaux, the front is lined with velvet and the strings are of ribbed plush or of ribbed plush ribbon. The shape is the close princesse, which may be purchased at any price, from one shilling to three and sixpence, according to the quality and fineness of the straw.

The large illustration represents a girls' skating party, and we hope that by this time the weather has proved favourable to this eminently healthy and delightful exercise, and that numbers of our girls will have learned to skate gracefully and well, not only the ordinary straightforward skating, but the Dutch roll, in outside and inside edge, and any forms of figure-skating that they can manage to acquire under tuition of father or brother.

Except from suffering and death it entails on the poor, by reason of our badly-built houses and inefficient powers of heating them, we might wish for a longer continuance of this pastime, but under those circumstances we cannot selfishly desire what occasions pain and sorrow to others.

Beginning from the left-hand side with the first figure, we find she wears a girlish-looking cloak and bonnet, which ware known by the name of the "Mother Hubbard" this winter. The cloak is made of either cloth or cashmere, and is lined with fur, or a quilted alpaca lining  for the winter, if the latter be used. The muff is of the material, trimmed with velvet or plush bands. Many Mother Hubbard cloaks are made of cloth, and the gathered portions round the neck and wrists are of satin or velvet. This is a very pretty addition to the cloak, and does not increase the expense of the cloth materially, because it does not require lining like the thinner cashmere. The bonnet is of plush and satin, to match the muff; it has a gathered crown, and at one side a tiny bouquet of velvet leaves and berries. The dress worn beneath is of sapphire-blue cashmere, trimmed with satin bands.

The second figure to the left wears a plaid dress made with a kilted flounce, and a long plainly-cut cloth jacket, double-breasted in front, with two rows of buttons and bands of narrow fur to edge the neck and the sleeves. The cap matches the cloak and is called the "Russian General's"; the crown is of cloth, and the band or border of fur.

The third and most distant figure wears an ulster with three small capes, and a cloth hat to match her ulster, the gossamer veil being tied beneath the chin.

The fourth and centre figure wears an ordinary walking dress of black cashmere, with two flounces, each with a gathered bouillone top. The scarf tunic is closely pleated across the front. The cloth jacket is prettily braided and edged with fur; it has a hood at the back. The hat is called the "boat shape", is made of rough beaver, and trimmed with velvet.

The fifth figure wears an extremely warm cloth cloak, trimmed with fur, and a fur muff; while her hat is a large one, slightly turned up at one side, lined with black velvet, and trimmed with a feather.

The little woman who stands in such an observant attitude at the back and looks on is attired in a plaid frock, edged with black fur, and a crochet Tam o' Shanter cap. Apropos of the latter articles, for which there has been such a rage during the last few months, they seem now to have been passed over entirely to the children, and both boys and little girls wear them alike. They make a very pretty and cheap headdress, and any mother or sister can make them for herself, and I really do not consider that any pattern is needed, as the increasing  for the crown are very easily managed, and must be just sufficient to make it lie flat. Fingering yarn and a coarse crochet-needle are all the implements needed, and a friend of mine informs me that her boys' caps cost her exactly sixpence each.

I must not forget to mention that self-coloured stuffs are more popular than figured ones, and that where the handkerchiefs are used for dresses the foundation consists of a plain, thick woollen material, such as diagonal cloth, Cheviot, or Indian cashmere.

26 March 1881 - 'Seasonable Dress, and How to Make It'

Say NO! to the crinoline, people.

We fear that in the spring we shall all be obliged to make a stand, firm and bold, against the invasion of that most inconvenient and needless incumbrance, the crinoline. All through the winter at the extremely fashionable modistes, the "dress improver" has been dangling before our eyes, but very few even of the most outré dressers have adopted it. We hope the same right feeling will continue in the spring. It is the duty of us all as individuals to make a resolute stand, and prevent a foolish and atrociously ugly fashion from enslaving us again. So we shall look to the readers of THE GIRL'S OWN PAPER, as warm and hearty auxiliaries in the matter, as to them we are always endeavouring to show a duty in all things, small and great; so that even in their dress, as well as in their demeanour, they may display to the world the highest possible ideal of a fair and Christian womanhood, and a girlhood so thoughtful in spirit and so beautiful in taste, that it could not stoop to extremes of dress or to the adoption of unseemly and monstrous fashions.

Happily for us of late, we English women have become much emancipated from the control of French fashions, and we are not so much afraid of displaying a little individuality in our dress. For this change we are indebted in a great measure to the high-art votaries or aesthetes, who, in spite of extravagance, amounting even to foolishness, have done good service in many ways. There is something dreadfully degrading to our womanhood in the accounts given lately of a Polish countess in Paris, who surprised the world by a harlequin dress, the skirt of which was composed of diamond-shaped pieces of satin and velvet sewn together; and of the eccentric foreigner who created "immense excitement" by a parti-coloured costume - pink on the left, blue on the right, from the crown of her head to the tip of her shoes.

Large and small bonnets are flourishing together in London, so that no one can feel out of date with either one or the other. Plain white straw hats are beginning to show themselves again, and are warmed up with soft crushed-looking poppies, and red strings or trimmings to match. This may be a useful idea to some of our readers who have white straw bonnets of last summer lying by them. They should have them cleaned and re-blocked, and then line them with black velvet, and trim them outside as before directed. The velvet lining should be put in on the bias, and velvet used  for the purpose can be obtained, cut in that way in the shops, at less than 2s per yard. Half a yard should suffice.

 

The popular flower  for the spring is the humble little violet, we are glad to say, as we do not like any fashion which introduces large and gaudy flowers. Mixed with violets we sometimes see a tuft of yellow cowslips or tender buttercups, just as they sometimes grow beside each other in the hedges. These violets are greatly used on the small black straw princess bonnets, to cover the front in a wreath-like form, and with them are used violet velvet or silk strings, a simple and pretty method of trimming our winter bonnets.

The favourite colours  for the spring for every-day and walking dress are grey and brown in all shades, from dark to light. Very few plaids are to be seen, and they will be mainly used for trimmings, being placed on dresses of a quiet uni-colour, such as brown, in flat bias bands, sewn on by the machine. They are also let in down the front of the bodice in a pointed shape, and also as yoke-shaped pieces on the shoulders. The new plaids are in very quiet tones of colour, and where brighter hues are introduced it is only in stripes of pale and delicate tints. A great many striped fabrics are amongst the new spring materials, the width of the generality of the stripes being one inch, both contrasting stripes of even width. The colours are quiet, grey and brown, grey and dark blue, brown and old gold, and grey and tan colour.

For those who are obliged to consider the cost of their clothes, and dress on £10 to £15 per annum, the custom of wearing brown is very good; indeed, brown is the colour par excellence of the economical, not a washed-out ugly shade, a rich, warm, old-fashioned brown, never found save in fairly good materials and never-failing dyes. This brown, whether in cashmere, cloth, serge or silk, can always be matched and remade, and it never looks out of place at any season of the year. It shows very few spots or stains and, if of good quality, should not fade or become rusty. The best materials are those which are all wool, such as cashmeres and merinos, beiges, or vigognes; they do not easily crush, and they will make and remake any number of times. Mixtures of silk and wool and wool and cotton are all objectionable, and should be avoided. A French lady gives it as an axiom that the fewer dresses, mantles and bonnets purchased the better, as the quality of them will then be vastly superior to what it would be were the same amount of money spread out over a quantity of cheap dresses - thin mantles and poor finery. The drawback to this good advice is that very few girls, or "grown-ups" either, take sufficient care of their clothes, and in this matter I fear that French women are superior to us.

Our illustrations this month give, amongst other things, two delightful models of hats, the one turning up at the side, the other turning down all round. The first is of black straw, chip, or felt; the brim is lined with velvet, and a fold of the same is lightly arranged round the crown, while a handsome ostrich feather falls over the side. The second is an entirely new shape, which has just appeared this spring. It may be of black or white straw - in the model illustrated it was black, with white lace turned up over the edge. Black Spanish lace is placed round the crown, and forms the strings, while a feature of small size decorates the side, the colour of which is decided by the dress of the individual wearing the hat.

The five figures composing our large picture represent some of our girls in their pretty home costumes, one only wearing the neat double-breasted tailor-made jacket - the favourite out-of-door dress of our neat English maiden. The one in question is of tweed, with velvet collar, and a flat braid laid on round the edge. The hat is of straw, bound with velvet and a small upright wing in front. The skirt of the dress might be of tweed to match the jacket.

The sitting figure at the piano wears one of the new season materials, of wool, flecked with colour, in a sort of chine pattern all over its surface. The bodice has revers in front, and is pointed both at the back and front of the long basque, a belt being worn round the waist The over-skirt is plain, and draped in folds, while the skirt has two kilted flounces, and a row of pointed tabs over the top of the lower one. The next standing figure has a skirt wholly kilted, with two tiny flounces at the edge. The long bodice is buttoned down the front, and the over-skirt is draped at the edge, so as to hide the union of the bodice and skirt. The large collar and cuffs are of coloured plush, edged with lace. The sitting figure at the extreme right has a striped polonaise, with a plastron deeply pointed in front, of velveteen. The polonaise is edged with fringe and draped up very high on the hips, and the skirt is of plain velveteen. The young lady at the extreme left, who is buried in a reverie - which seems a delightful one, whatever the subject may be - is attired in a cashmere dress, of a light colour, trimmed with velveteen. The bodice is pointed, the deep kiltings underneath extending to the back, where they meet the points as they do in front. The front is opened, and a folded plastron so introduced. The cuffs are of velvet; the skirt is plain, and edged with two narrow kiltings of the same, and the trimmings at the side consist of a band of velvet and cords to match it in colour.

The new materials of this season are remarkable both for their cheapness and their goodness.  Amongst the best of the novelties are those materials which have a border for trimming running along one side of the piece, which is sometimes figured, and sometimes plain. We very much admired a pretty dark prune-coloured beige, and we thought how pretty it would be with silver buttons to match. But we cannot say how these pretty tinsel materials will wear.