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.

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.

27 November 1880 - 'Seasonable Clothing, and How to Make It'

Our bonnets and hats are usually a question of very deep consideration to all of us, and it is most natural they should be so; when we consider for a moment how really important they are as being the frames and shelters to our faces, and adding to or detracting from the pleasantness of our looks. A cheap bonnet or hat is hardly to be had unless we are fortunate enough to make them ourselves, when, I am sure, we have all been surprised at the great show which can be made at very little cost. This has been my own case this very season, when I have made two lovely creations (as the French milliners would call them), starting with one elderly bonnet, which, purchased in May, had lasted through the season. It was a very pretty and good black-jetted one, trimmed handsomely with jet, but it had quite done its duty and seen its best days. However, there was a new bonnet to be made from it, I was sure, and some little assistance toward another, perhaps, and my expenditure over both must be limited if other parts of the wardrobe were to be supplied as well.

Now my rule is to make such purchases invariably at a large shop - never where there is only a limited stock - as I am then sure of cheaper and better materials, and much newer and fresher things. On this occasion I followed my usual rule, and here is my bill in extenso -

1 black straw bonnet - 1s 1/2d
1 shape bonnet - 6 3/4d
1/2 yard black velvet, at 2s 11 1/2d per yard - 1s 5 3/4d
4 yard black ribbon, at 1s 1/2d a yard - 4s 1d
1 flower and leaves - 2s 6d
11s 1 1/2d

The black straw bonnet was one of coarse straw in the princess shape, small and closely fitting. A rummage in my bag of odds and ends soon found me enough black silk to line it with, and then it was bound all round back and front with a gathered bias of black velvet, which was slightly full, and was about half an inch on the edge of the bonnet. Above this all round were sewn on my strings of beads, which were as big as peas, and were kept on the thread on which they were strung, which was caught down at intervals with a stitch or two. On the front of the bonnet I placed one of the long knots or bows now so much worn cut from my half-yard of velvet, which I forgot to say was bought on the bias. This bow was about three inches wide, and was "slip stitched" round to prevent the stitches showing on the right side. A narrow band of velvet crossed the back above the beads. Then the strings were sewn on, and my little bonnet had reached completion.

I then turned to my old bonnet, which I carefully unpicked and brushed with a bonnet brush, before reconstructing it. After this I covered the coronet front of the new shape with some new black velvet, and bound the back with the same, first transferring the silk lining, which was quite clean and nice. Then the crown was covered with the embroidered bugle covering of the other bonnet, and the velvet coronet was quite covered with the deep-jetted fringe, which was sufficient to go all round to the back also. Lastly, my pretty old gold flowers were put deftly on the top of the front, the strings sewn on, and my second bonnet was done, the expense of both bonnets being 11s 1 1/2d - 5s 6 3/4d each. One, of course, was entirely new, but did not cost any more than the other with the flower and new strings. Now this little account has been given with a view of showing what can be done, either for ourselves or for others, if we choose to take the trouble of thinking about the matter.

I have always been thankful for my knowledge of millinery and dressmaking, which I derived from my nurse, who had been apprenticed to a milliner and dressmaker. Under her instructions I dressed and redressed my dolls, who went to endless entertainments, and altered and re-arranged their clothes with a boundless extravagance, which would have brought their male relations to the verge of bankruptcy if they had been anything but dolls. I do not remember either to have had any new things for my dolls in those happy busy days; nothing but a big band-box full of scraps of every kind, to which everyone seemed to contribute bits of lace, ribbon, and silk, besides anything and everything which could be turned to account for a doll or a doll's house. For my dolls lived in a big cupboard for a house, every room of which had been furnished by nurse and myself with wonderful home-made contrivances, much of which knowledge I have made use of in after life. But I fear very few girls have nurses like mine, and they must acquire their knowledge later in life, even if they are lucky enough to acquire it at all.

But to return to our "Seasonable Clothing." Now that we have disposed of our bonnets  for the moment, I am very anxious to help those amongst our girls who have just begun to have allowances, and do not yet know how to use them to the best advantage. There is no doubt that without a fixed plan we shall waste our money, and we must begin by making a fixed rule that we will try to buy everything we want at once, and not be always buying, or else we shall never get anything really good. There are a few rules which I think may be useful, and the first thing is to have as few dresses as possible, and nothing but what is good. One winter and one summer dress are quite sufficient to add to your stock yearly. Two bonnets and two hats are also enough; two pairs of shoes, and two pairs of boots. Four pairs of gloves will be found sufficient, if you buy only the very best, as 3s 9d, or 4s, and having worn a pair three months for best, take them for second best, and get a new pair to replace them as best. You should always manage to have two pairs of boots in wear at once, and two pairs of shoes, and never wear your best boots in wet weather. Stockings are another thing it is foolish to be saving in, as nothing really good in woollen can be obtained under 3s 6d or 4s. Three pairs are enough, and if of the best will wear for three winters. As occasion offers, take out the worst from your stock and replace them with new ones.  For the summer you will require six pairs at least; and if you darn and wear them carefully they will last three summers also, observing the same rule of replacing them.

All underclothing is kept in good order by the same rule, and every girl should always have some articles in hand, and endeavour to keep her stock of chemises and drawers up to six, while three or four night-dresses are quite enough. Flannels, too, are treated by the same rule, adding one at intervals (generally every autumn) to the stock, and using the thin petticoats in the summer. Summer petticoats are a very small item in the expenses, as they can be purchased by the yard as low as 10d and ready made for 3s, and they do not last beyond the season. Winter ones are rather more; I think that black moreen, or that satin-faced woollen material used to line gentleman's coats, are the best to use, but they may frequently be made from old black dresses. Black silk dresses are most economical wear, and, as a rule, one every four years is quite enough to keep anyone in best dresses. A few yards of new brocade, satin, or velvet will make a half-worn dress look like a new one. French merino and cashmere are also materials that will wash and wear to the last thread.

For those who require them I give two flannel (figs.1 and 2) dressing-gowns, which will be most useful to invalids. About eight yards will be required for each, and the trimmings may be of old black silk or cashmere for either, with a little cheap lace or work to enliven them, which can be taken off and washed.

Fig.3 is a flannel dressing-jacket, trimmed with flannel embroidery bands, or with torchon lace, and rows of herring-bone embroidery done with coarse purse silk.

The large illustration gives an idea of the winter fashions. A small coat-like jacket is in much favour, which reminds one of what is known, I believe, as a gentleman's "Newmarket" coat. The cheapness of Ulsters is quite astonishing in London this winter; I have seen them well made and of wonderfully good material for 12s 6d, and very excellent ones of a better class at 19s 6d.

30 October 1880 - 'Seasonable Clothing and How to Make It'

It is a matter of no little comfort to all of us this season that the changeable laws which govern dress are so lenient as to permit an unlimited diversity in style and shape, and also in material, as many as four different stuffs being used in the same dress. The most popular colour is brown, which lends itself happily to all kinds of economical contrivances, and is, besides, a delightful colour, in its capacity for being enlivened by brighter hues, as well as by cream-colour, and brownish yellows. It is also a little gayer than black, although quite as serviceable, and equally neat and pretty.

Dresses are made with polonaises, quite as much as with jacket-bodices or basques. The new polonaises are long, and fasten either behind or in front; there is usually a gathering, about a quarter of a yard in length, immediately in front, which draws up the front of the polonaise into graceful folds, and the opening is finished by a looped bow with many ends. There are frequently gatherings at the middle of the waist behind and in front, extending down for some distance on the skirt; but unless the material be soft ad limp, it is never used for gathering, as thick material would never fold into the extremely close gathers now in vogue.

The coat bodice is similar to that which has been worn all the summer, which was illustrated in September at page 617, Vol.I, with a cutaway front. In our illustrations of this month (fig.1) the newest shape is given which has a double breasted front, and is more of a winter costume than the other.

In the picture at fig.2, an indoor costume is shown which is one of the novelties of the season.

And now I have described the prettiest style of dress  for the autumn and winter, we will have a little practical chat concerning our own wardrobes. It is more than probable that we have, some of us, a black cashmere, silk, or velveteen half worn-out, and not good enough for our winter dress; we should be so thankful if we could see in it the foundations of our new costume, but we do not quite know how to set about it.

If we like to take advantage of the fancy of the day, we may fearlessly mix them together, when, however bad, we shall be sure to have a presentable dress out of all three. With the present trimmed skirts such as figs.1 and 2, the foundations may be of any other material, - such as a stout alpaca - as they do not show when trimmed, and it makes a great saving in a dress; or any old skirt which is good, and not too limp, may be utilised for the purpose.

Velveteen is immensely popular this winter; the new makes are so vastly superior to the old, that they are hardly distinguishable from real velvet. A very pretty costume could be made of seal, brown velveteen, and light brownish yellow Indian cashmere, or vigogne, of the shade known as tete de faisan, which is very like the colour called cuir some years ago. The velveteen skirt would have a silk or alpaca foundation, and two kilted flounces, each about a quarter of a yard in depth. The upper dress may be of the vigogne, or cashmere, or else of estamene, or diagonal serge, and may be either a polonaise or else a jacket bodice in which case the upper skirt must be put on the top of the flounces as a trimming. A princesse dress, made short, of grenat velveteen, would also be a pretty winter dress. It might have a pinafore polonaise of some light material for wear in the evening, which would make it additionally useful. The cream-coloured, figured, Madras muslin - for instance, is very cheap, and being wide, a pinafore could be made at very little cost. If this dress be intended for a best costume, it might be well to go to the expense of procuring a little plush  for the trimming; but in using it, it should always be borne in mind that it wears badly.

In cutting out velveteen at home, it is needful to remember that there is a right and a wrong way of the material, and all the parts must be cut the same way. You must also take the fact into consideration that velveteen, if good, is always worth redipping, and that if there be too little of the good portion of a dress to make up again, it is still worth re-dying; as the well-preserved parts may be utilised with new material. I consider velveteen is entitled to a very high rank amongst the economical materials, and from its cheapness and good appearance should find a place in the wardrobe of all young people. Another nice textile is "vigogne," which is rather more expensive, but it is worth all it costs. It is very soft, and delightful to the touch, and the best material for trimming it is satin; and I know I need not press the advantages of the linen-backed satins on my readers; I must only caution them not to purchase any cheap ones, as they do not answer this purpose. To give from 3s to 4s a yard will ensure an excellent wearing quality. They are quite invaluable for doing-up old dresses, and they can be purchased in nearly every hue of the rainbow, and even the cheaper kinds, when cleverly used, look as good as satin at night.

Serge dresses are now trimmed with narrow braids; for blue serge, both black and gold braids are used, the rows being placed close together, to the number of four or five. Satin stitch embroidery with gold-coloured silk is a novelty on some of the new serge dresses, and also Roman striped scarves used as bordering bands and kiltings. Woollen plaid handkerchief dresses have succeeded the linen and cotton ones of the summer, the handkerchiefs being sold separately, in any number desired. They are of every colour, in fancy plaids, not Scotch tartans, and they are used to make whole dresses or only as trimmings. There are also numbers of fancy plaids of quiet colours, which would be very useful in re-making last winter's linsey, serge, or tweed dresses, and would make them look new and pretty again, used as scarf tunics, kiltings, gathered plastrons on the bodices, or puffs on the sleeves.

I think that I have quite exhausted the subject of dresses and dress materials, and may now proceed to mantles and jackets. The former are exceedingly large, and of the dolman shape, some with and others without sleeves, the most expensive ones being lined with plush and coloured satin, and even with velvet.

The well-known tight jackets of last season are worn this year again; the lining of the hoods is of some quiet plaid silk, the small "toque hat" being made to match of the same material. Those amongst my readers who have last year's mantles and jackets, therefore, may take heart over them, as they will be quite in the prevailing fashion this year. With regard to new ones, the newly introduced "sealskin cloth" appears to be a valuable material, moderate in price, and, so far as I can judge, everlasting in wear. I should not advise, however, that anyone should attempt to make them at home, as it is extremely difficult to make the seams join well, even professional hands finding a difficulty in making them as invisible as they should be.

The coachman's capes in fur will be worn again this year, but a more favourite method of wearing furs will be a wide-standing collar, or a large round collar attached to the mantle itself. The large fur-lined cashmere round cloaks will also be used this year, as they seem to be found too useful to relinquish, and for wearing in the winter evenings they are certainly a delightful protection from the cold.

The bonnets are very small, and the hats are very large indeed. There will be no difficulty in making our own bonnets at home,  for the shapes are all to be found in straw, and of nearly every colour. The only trimming in many cases consists of a very large long bow of silk, plush, satin, or black velvet, at the top of the bonnet, no cap or flowers inside, and no other trimming besides the strings, which are generally of the same material as the bow. An example of one of these small bonnets made of black straw, with a violet velvet bow, Parma violet wreath, and silk strings, is given at fig.3.

Stockings are still worn of a plain colour to match the dress, or else black, which is as fashionable and as serviceable as ever for morning and evening wear. Gloves are also worn to match the dress in colour; and as the generality of sleeves are short, the gloves with four buttons are the most generally adopted. Black lace scarves, wound round and round the neck, are used instead of collars, and black lace frills instead of white,  for the wrists of dresses. All these are most economical styles, and are invaluable to girls having but small allowances.

The last three illustrations are intended to help the industrious worker at home.

Fig.4 shows an easy method of trimming with two materials, which will be found available for doing-up old dresses. 

Fig.5 represents another bonnet, which will not be found difficult to copy.  

Fig.6 suggests a method of making-up an evening fichu on a wide ribbon, with lace and a suitable bouquet. 

28 August 1880 - 'The Dress of the Month' by Dora de Blaquiere

The June roses have fled, the heat of July and August is over, and before us spreads the cool September, from whence we shall gradually slide into the chilliness of October almost without recognising the change of seasons. In our dress, however, we are obliged to make some alteration, and for this, of all months, it is perhaps the most difficult to dress. The summer garments are a little too cool; the autumn ones not yet thought of, much less purchased. In this dilemma there is always black to fall back upon; black, in which everyone looks well, and in which no one can err on the side of over-dressing. It has been more valuable than ever to us since the introduction of the coloured kiltings, or balayeuses, enabled us to give a touch of colour, in a natural way, to the blackness of the costume. Nothing was ever more easy to make than they are, or more inexpensive to purchase. Turkey-red twill is quite good enough for a girl's use, and the kilting of the two-inch-wide frill can be done at any shop in town where the kilting machine is kept, for about a half-penny a yard. The kilting may be of any and every colour, but red and old-gold are the most popular; and the possessor of two or three sets of different colours need not be considered very extravagant.

The colour of the balayeuse must be repeated on the bonnet or hat, which, if red, may be effected by a red poppy or red satin bow at the throat as well. Small artificial sunflowers are now made, to be worn at the side of the neck, ensconced in the black lace necktie, quite a bunch being used. Indeed, these flora ornaments are quite a feature in everyone's dress, and I must confess that I like them, for what could be more suitable than flowers to the young? The floral bonnets have always been peculiarly pretty, and I shall never forget the pretty effect of a small bonnet of blue forget-me-nots which was worn by the fair-haired daughter of a noble family when they first came out, and the extreme suitability of the style to her modest and flower-like face.

In the evening young girls may wear the new floral collar, which is a ruffle of leafless flowers, tied round the throat, and having a few tendrils of hanging buds and leaves. Buttercups on black, scarlet pimpernel on pale blue, or violet would make pretty necklaces. Two of the most fashionable collars of the day - both to be worn with the lace frill - are illustrated on this page, the first being made of coloured-crossway-cut silk or India muslin, gathered at the back and on the shoulders, and extending scarf-like down the front, the edges being trimmed with lace, and a tiny flower bouquet making a finish at the neck.

Fig.2 is a linen collar, rounded at the corners, edged with lace, and tied with a coloured cord and tassel at the neck. Then there are the bows  for the neck, of lace and muslin, which form a finish to any dress. Little floral trinkets are much worn by young ladies, sprays of forget-me-nots and lilies of the valley being particularly popular.

I daresay that most of my readers have seen the small head-nets made of gold or silver thread. They are very easily manufactured for oneself, with a rather coarse steel crochet-hook. The pattern may be taken from any antimacassar wheel, or even a square which has a rounded centre, both of them being very open. The edges are finished with pearl beads, or else with tiny gold sequins, which can be purchased by the dozen at any fancy shop. These gold squares form a pretty finish to the hair-dressing of a young lady or to the top of a cap for her mamma. The border of the cap may be a wreath of some small buds and leaves, mounted on a wire, and the net laid lightly over them. "Mamma's caps" are a subject of great interest to so many girls, that I give them this hint in passing.

At Fig.3 an easy method of trimming-up an elbow sleeve, to be worn in the evening, is shown.

The newest lawn-tennis aprons are made of ecru silk sheeting, edged with red of the same material, as a border, on which is embroidered a wreath of flowers, the pockets and the bib are also red. Many young ladies are making themselves caps for tennis in the shape of the well-known Neapolitan fisherman's, which resembles a pointed jelly-bag more than anything else. It is finished by a tassel at the end, and may be of a dark red, or else may match the costume in colour. Many people crochet them in ordinary double crochet, but nearly any material answers for them, such as cashmere or sateen, as the cap can be made to fit the head by means of a wide elastic band run into it. Talking of aprons reminds me that I have seen some very pretty and useful ones made of the ordinary glass cloths, with their red and blue cross-bars, the border for them being made of crewel, or ingrain cotton, stars or sprays, embroidered in the squares of the border. These aprons, being of linen, are, of course, perfect as to their washing capabilities. The bibs of aprons are now gathered into the neck and waist-bands, and handkerchief aprons are more diversified than ever. The last one I saw was very simple, and consisted almost entirely of one large handkerchief, hemmed with a small gathering made to mark the waist-line, about five inches from one of the points. This turned that point into a bib, the gathered part being the waist, the two points on either side being tied back by ribbon strings. A square pocket of plain sateen was placed in the centre.

Everyone is still wearing the jaunty "creole turbans," or "toques"; they are so comfortable, so pretty, and so easily made at home to match any dress. The cost of them is a mere trifle. A net foundation, price sixpence; a quarter of a yard of velvet, 1s 6d, or less; and the top is found at home in the material of the dress, or else in one of the pretty Indian-looking materials to be found in every shop.

And now I must have a little chat about colours. Black and white, of course, are once more in fashion, especially in spots and stripes; and they will remain so during the autumn. Old-gold or buff and dark brown are frequently mixed in hats and bonnets, particularly for young people. Crimson and mauve, deep pink and violet, scarlet and deep plum colour, pale blue and violet, crimson and dark blue, purple and old gold, are all contrasts or harmonies of colour, allowable both in the dress and on the hat. All these facts are useful in guiding us in our way to making up either new or old dresses. Also that cotton and silk are now worn together, and linen and silk also. Cashmere is constantly made up with foulard and sateen, while serge may also be mixed with both. I have lately seen several old silks - especially black ones - "done up" most cleverly with spotted sateens, and made to look almost better than new. The same may be said of the deep red Turkey twill, which has been utilised for gathered fronts, sleeve gatherings, and the balayeuse kiltings; and there is no doubt but that clever people, having old dresses of any kind to "do up," are now revelling in the delights of an almost endless choice of material.

The dress illustration of the month gives a useful afternoon toilette - blue foulard, having spots of various colours. Under-skirt is of silk or cashmere and trimmings of foulard. The flounce is pleated and headed with flat loops of satin arranged in rows. The bodice trimmed with folds of foulard, and a plastron of satin. A satin scarf is folded round the basque, and is trimmed with two rows of loops; the folds are finished at the back by bows of satin. Another bow is placed at the side of the collar. The sleeves are finished with cross folds of satin.

10 January 1880 - 'Winter Clothes and How to Make Them' by Dora de Blaquiere

This is the first of Dora de Blaquiere's pieces for the G.O.P. Whilst the paper certainly had some purely aspirational content, especially to do with fashion and dress, its principal demographic was middle-class girls who were expected to shift for themselves to a certain extent, and make themselves useful. The rich girls might be able to purchase all their garments from the finest dress-makers and shops, or only approach DIY dressmaking as a hobby, but here's to everyone else, making do. 

I like to see everyone looking nice, especially girls, and am of opinion that no small part of their future happiness depends upon their complete understanding of the whole "Art of Dress". The subject is indeed a wide one, from the choice of the materials to the right methods of cutting out and making them up for use. Economy, wearing-qualities, colour, suitability, and last, but not least, that which we have only lately begun to study, the hygienic principles of dress - should all form part of the education which fits a young girl for her battle with life.

This winter Dame Fashion favours those who have to make the best of half-worn garments,  for the jackets, mantles, and paletots worn differ but little from those that were fashionable last season, and the universal adoption of short walking-dresses is an admirable assistance in renovating and remodelling old ones. But I must begin, I think with the

HAT OR BONNET,

And here we are fortunate to the,  for the "poke" bonnet - the favourite shape of the last spring and summer - will be quite fashionable this winter, and those amongst "our girls" who had them in black straw can use them, re-trimmed, throughout the next season. They are now most generally lined with a coloured satin, and are trimmed on the outside with black velvet, or satin, or else with a scarf of coloured Indian-looking material, in various rich hues. Half a yard of this is enough to drape round the bonnet in folds, with a small tie. Strings need not be added, as they are more worn by elderly ladies than girls. Even, if the "poke" bonnet be white, it is not necessary to despair, as it will dye very nicely. The only difference in the shape this winter is that the front is wider and more flaring. The handkerchief-crowned hats, with gathered velvet rims, are still worn very much, and they are exceedingly pretty when made of the same stuff as the dress. Almost any girl could manage to make one of them if she purchased the foundation, which only costs 6d. The first thing to do is to bind the rim with velvet cut on the bias, slightly gathering it at each edge. This velvet may be had cut from the piece on the bias, and I think half a yard should be found enough, cut into two lengths and joined. The lining of the hat is put in next, and for this, if great economy be desired, old silk will answer as well as new. Lastly, the head-covering should be put on, and this should be cut into an oval shape and larger than necessary. The gathered or puckered effect of the top is easily produced by taking a few irregular stitches on the wrong side, and drawing them lightly together. A little observation will enable a girl to make a very pretty hat out of cheap materials, if she have the determination to succeed.

I have commenced with the hat, as a principal part of the winter cloths, because it is sometimes one of the young girl's greatest difficulties, but it is one which may be surmounted, just at present, with more ease than usual, as the fashions worn are simple and easily understood. The out-of-door garment is much more troublesome, and I think that a wise and prudent maiden will first try her "'prentice hand" upon the alteration or turning of an old

JACKET OR MANTLE.

By this simple means she will learn the proper method of making-up cloth. She will find the seams, after being sewn, were flattened with a hot iron on the wrong side, and afterwards laid over with a narrow galloon hemmed down on either side. The edges are also generally finished with this narrow galloon, which is the best and neatest method of treating all seams that are intended to be durable. Black linen-thread should be used for sewing all thick and dark materials - not cotton, which cuts and wears rusty. For stitching seams, which are intended to be seen, and also for button-holes, tailor's silk twist must be procured. This is sold by the yard, in all colours, as well as black. Buttonholes are a sad trouble to most amateur workpeople; but I hope that my readers have already passed through a complete course of careful instruction, and that as regards these tailor's buttonholes, experience will soon teach them the right method of making them strongly. They are cut in the shape of an elongated  . ^ , the wide end at the outside edge, to allow of its lying flat when buttoned, and to give room  for the shank of a large button. The quantity needed to make an ordinary jacket of tweed, for a girl of fifteen, would be one yard and a quarter, three yards of serge or linsey, and a little more of diagonal or coarse frieze.

PAPER PATTERNS.

One of the things which must be learnt by all girls who desire to be comfortably dressed on small allowances, is cutting-out and this seems to me not nearly so difficult a matter as people are inclined to make out. A few experiments should be first tried with newspapers, in the following manner. Take three or four sheets of it and paste the ends together in a long length of several yards, the whole length to be, say, 24 inches wide. Then lay your paper patterns down on this, remembering that all backs, fronts, sleeves and skirts run up and down the selvage, and that any deviation from this settled rule will spoil your dress or jacket. The right and wrong side of the stuff must also be remembered, as well as the pattern, and if it runs up or down.

It would be difficult to mention a single article of dress of which a paper pattern may not be procured in the present day, at prices which vary from sixpence to a shilling. I remember a little girl of my acquaintance, some years ago, being fired with the ambition of making a dress for herself. She bought out of her own pocket-money, 8 or 9 yards of print for 4s., and after arduous study of her own dresses, she managed one day to produce, to her mother's astonishment, a dress for herself, which could only be regarded as wonderful for a maiden of 13! She had received no help from anyone over it, and the cutting-out and making had been entirely her own work. I am inclined to think that many girls might be induced to attempt dressmaking for themselves if some small prize were held out, by either father or mother, as a reward.

THE DRESS.

The three materials most suitable  for the ordinary every day dress of a girl are tweed, serge and French merino. The latter, which has just returned to fashion, is more suitable for best dresses, perhaps; but it is, without exception, one of the most durable and charming of materials, and bears hard usage, washing, dyeing, and turning, as long as it can hold together. Tweed has the great drawback of being frequently mixed with cotton; but when quite pure, all wool, and not too fine in texture, it is also interminable in its wear. Serge is open to the same objection and, in addition, is sometimes so badly dyed that the hands are embued with a blue hue as long as the dress lasts. It is also liable to fade, and wears white; and when torn it makes such an ugly jagged hole, which the wearer will find most difficult to darn. It should always be bought at a good shop, and, if possible, the cheaper kinds should be avoided, as unsuitable to those who have little money to spend, and must have that money's worth. The large loose-grained serges are said to be the best, and the prices range from one shilling to five or six per yard. From five to seven yards, fifty-four inches in width are needed for a skirt-bodice and jacket. The most suitable trimming is flat mohair braid of good quality, and wooden buttons. The skirt is generally made with a keep-kilted flounce, which is unlined, the kiltings being kept in place by two tapes, to which each kilt is sewn in their due order. The bodice is shaped with a plain long basque, and to hide the meeting of the skirt and bodice a folded scarf is tied round the hips. The out-of-door jacket to this serge suit, if nicely made, and well cut, should answer for other dresses, and any extra warmth can be added by putting a small knitted woollen waistcoat underneath.

CAPES

The present mode of wearing coachmen's capes is a very pretty and a very economical one, especially to young girls, as they can manage with a lighter and, perhaps, an older jacket  for the winter, when they have secured the additional warmth of the pretty and becoming fur cape. They are not expensive either, and are quite within the reach of a small allowance. The best to choose are, I think, those of black fox, though, of course, the coney skins are the cheapest. The drawback to the latter is that they will not bear wetting, and that the hairs are very easily plucked off in tufts, leaving an ugly bare place.

SHOES AND STOCKINGS

It is a peculiarly good thing for those who must think of how to spend their money to the best advantage, that nearly every fashion of this year tends to assist the thrifty. Shoes, for example, which are so much worn, are far cheaper than boots; and a good strong and nice-looking pair can be purchased for five or six shillings, where equally good boots would have cost ten. Black stockings, too, are both becoming and economical, and the pretty deep-red ones are very much affected by young girls, who, with a morsel of red in the hat, thus contrive to lighten an entirely black costume. It is singular how opinions change. A few years ago it was considered quite an unheard-of thing for a young girl to wear a black dress or bonnet.

And now, having disposed of the hat, bonnet, jacket, dress and shoes, for walking purposes, we must return to the indoor raiment. And here it is that I must especially charge my readers to endeavour to be neatly and prettily dressed - tidy hair, shining from the constant care bestowed on it, clean cuffs and collars, and, above all, neat shoes and stockings, are none of them too expensive luxuries for girls to aspire to possess. But perhaps even as you read these words there may be some shabby old dress which seems hopelessly "done for" staring you in the face. Even of this you need not despair, with the present pretty fashion of aprons and pinafores to help you hide all defects. Your own fancy may also be called into play to invent something which shall be inexpensive, and yet pretty and quite original. I saw such an elegant pinafore-apron the other day, made by a young girl to hide her old winter dress. The material was a cheap sateen, of a dark pink shade, decorated with little flowers, and trimmed all round the edge with a cheap embroidery. The bill was triumphantly produced for my inspection, and amounted to two shillings and tenpence halfpenny! The cheap cottons, with blue or pink stripes, are very pretty for the making of these winter pinafores; or, if these should be thought too cold, or their washing too expensive, there are so many pretty flowered Pompadour-like materials, that no difficulty will be found in selecting something pretty and inexpensive.

And now I am going to conclude my chat on Winter Clothes with a few explanations, and a little advice about purchases, and the cutting-out of

MATERIALS.

It may be thought that I have suggested a very short list of materials from which to select a winter dress. To tell the truth, the essential part of economical dressing, both for young and old, is to choose good all-wool, and quite unremarkable materials, avoiding mixed fabrics of wool and silk, or wool and cotton. So with this view I have left out all such combinations from the list for your choice. Everything pronounce in style, or at all peculiar in shape, must be avoided, and for two reasons - that it shows the date of its purchase, and the true lady should be neither dowdy, nor antiquated. All peculiarities of dress are sure to be commented upon, and however good-natured our friends may be, we should endeavour in this way to avoid giving them subjects for either, that no difficulty will be found in selecting something pretty and inexpensive.

And now I am going to conclude my chat on Winter Clothes with a few explanations, and a little advice about purchases, and the cutting-out of

MATERIALS.

It may be thought that I have suggested a very short list of materials from which to select a winter dress. To tell the truth, the essential part of economical dressing, both for young and old, is to choose good all-wool, and quite unremarkable materials, avoiding mixed fabrics of wool and silk, or wool and cotton. So with this view I have left out all such combinations from the list for your choice. Everything pronounce in style, or at all peculiar in shape, must be avoided, and for two reasons - that it shows the date of its purchase, and the true lady should be neither dowdy, nor antiquated. All peculiarities of dress are sure to be commented upon, and however good-natured our friends may be, we should endeavour in this way to avoid giving them subjects for either discussion or caricature.

CUTTING-OUT.

In cutting-out a costume, first cut out the skirt, then the bodice and over-skirt. With the aid of a little ingenuity, the under portions of the sleeves will probably come out of the pieces .Leave the trimmings to the last, at any rate, and use up the scraps for it. It will frequently be found that, by facing the fronts, instead of turning down the hems, of jackets and bodices, and by adding small pieces where they will not be seen under the arms, both the fronts may be cut from the same width of material. The safest way of proceeding is to lay all the pieces of a pattern on the material at once, as it will then be possible to judge of the most advantageous method of cutting it out. When it is a striped material, try to place a perfect stripe in the middle of the front, and in the centre of the back, if there be no seam. But, in any case, be sure that the stripes, or checks, match, and that those of the two sides correspond.

The straight part of the sleeves should come above the elbow, and the bias part below. Whenever anything has to be cut on the "bias" be sure to do so exactly, or it will not hang nor sit nicely. In cutting out a skirt, the front sides of the gores must always be straight, and the sloped or bias sides towards the back, carefully avoiding a seam either down the back or the front breadths.

In cutting materials that are figured, or that have a nap, be very careful to have all the parts of the pattern cut the same way of the material, that is, with the figures placed all the same way, the nap of the cloth running downwards, and the pile of velvet running either all up, or all down, as may be preferred.

And in conclusion remember three things: - that, to be really well dressed we must select such clothes as will be suitable wear when we pursue our daily avocations; that we must be comfortable, both in and out of doors, and that we must always strive to look exactly what we are; as true and upright girls, without silly vanity or foolish finery.

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.

25 April 1885 - 'Dress, in Season and in Reason'

 The changes in dress-making and draping this spring are seen more in small details than in any general outlines of absolutely new creations.  The full effect of the back drapery is increased, but no dress improvers nor crinolettes are worn by well-dressed people, and the full appearance seems only the clever effect of drapery much bunched-up.  But where this effect is not liked it seems equally good style to allow the tunic to hang straight and bag-like in the same way that it did last year.  The basques are short and cut quite round, about two inches below the waist, with no back-trimmings nor folds in many cases.  The edges of the whole bodice, when cut in this way, are often edged with bead passementerie, or a kind of silk bead, which is a Parisian novelty this year.  The front darts are now cut very high indeed.

Flounces are still used; most of them have four or five tucks run in at the edge, and they are kilted in various ways in wide and narrow plaits, and these are fastened down flatly, so as to prevent their giving the least bouffant or full effect.  In dresses made for young people flounces are less used, and all kinds of flat trimmings are in vogue – folds, tucks, braiding, and also the new woollen yak laces, which are so plentifully used for every description of dress.  These laces will form one of the very distinguishing marks of all year’s fashions.  They appear to wear very well, so far as can yet be seen, when used with care, and they are not more expensive than the different kinds of imitation laces that have been so much employed during the last two or three years.

All skirts of dresses, costumes, etc., follow the same styles, having plain foundations over which the tunics and draperies are arranged in long folds, the puffy ones being reserved for the back.  Young ladies’ summer dresses will very probably be made with narrow flounces to the waist, with perhaps small panier-like overskirts, or only back drapery.

Two or even more materials will continue to be used for all dresses to be worn on all occasions.  In an ordinary gown the bodice and tunic are of the same material, and the cuffs, collar, and front plastron would match the skirt.  If there be a jacket, it would match the upper skirt, while a waistcoat would be like the lower.  Tunics are worn very long, and nearly all are arranged so as to hang on one side of the dress.  A very generally used model has a shawl point in front, or rather at the side front, and very full folds at one side, while at the right the end of the drapery is caught by an ornament of passementerie and jet.  Some of the new tunics hang quite straight, without any folds, and are open on one side quite to the waist, showing the under-petticoat its entire length.

The perfectly plain, or “housemaid” skirt, is still favoured by the young and very slight in figure, but it is undoubtedly hard in effect, and trying, and has been worn by persons to whom it was eminently unsuitable.  The other day I met a widow lady, of not much under fifty summers, who had made herself a perfect guy by adopting a rough foule dress, with a “housemaid skirt”, a style which would have suited her daughter, aged seventeen, but which was a most ungraceful garment on the mother.  After all, dress consists not half so much in its richness as in its suitability to the wearer, and also to the time and place in which it is to be worn.  I hold each day more firmly to my ancient belief that the really well-dressed woman or girl will aspire to have as few dresses as possible, and to wear them out, as far as she can, before making fresh purchases.  Three dresses for an ordinary woman’s use seems quite enough; in having more she only runs the risk of having a sorry-looking collection of old and useless garments, difficult to wear out.

The great material for the present season is, without contradiction, “canvaserie”, or canvas-cloth, as it is called by some people.  It is what may be described as semi-transparent, and is made up over coloured silk or satin skirts, viz: a dark blue over scarlet satin, brown over yellow or red, and black over red also; the red showing through it, particularly on the bodice.  There are several descriptions of canvas-cloth, variously named. Some have the appearance of being plaited, others are woven in plain and fancy stripes, and others are plain, with very coarse meshes; all, however, being of wool, give fair promise of good wear, so doubtless they well deserve their popularity.  The skirts made up in these semi-thin materials are all wider than they have yet been worn, some of them measuring as much as three yards round.  The canvas-cloth is always loosely draped over the foundation, and from all I can see, the favourite colour will be ecru, or rather a light shade, that will go well with the favourite red with which it is so often mixed.  These thin black canvas-cloths will be a very useful and economical addition to the dress of this year, as they will make up over old silk and satin skirts, and even over sateens and cashmere foundations.

Black, the favourite colour of the Englishwoman, will be more worn than ever, but it will generally be relieved with some colour.  Black silks will be more popular than they have been for some time back.  They are trimmed with velvet, and much ornamented with beads, not only in the form of fringes and passementerie, but in elaborate designs carried out in very fine cut bugles on net, which is then laid over velvet and satin, and the net becoming invisible the designs have the appearance of being carried out on the richer material.  Black and white too have become popular, and black lace and insertion is now frequently laid over a white foundation of white silk or satin as the trimmings of black dresses.  Black and white “Pekins”, in stripes of varying breadths, will also be popular again; in fact stripes are quite the order of the season, as spotted materials were last year.  Sometimes the striped materials are made to run horizontally instead of vertically, a change which is not becoming to the wearer.

I cannot say that I much admire the striped wincey skirtings, which it is so fashionable to turn into underskirts at present, made quite plainly, the over-tunic and bodices being of some unpatterned woollen material such as serge of vigogne.  I have recently seen one in the street, the stripes being two inches wide, of black and yellow, and the black bodice having a waistcoat of the same, but I did not like the effect; it seemed staring – too gaudily bright.  It seems likely, however, that this style will be very much used for making up sateens and zephyrs when the season is more advanced.

Many gay striped patterns are amongst the new materials, some of them in canvas-cloth; and as yet they are made up in entire dresses, without any relief from the admixture of other materials.  The stripes are of coarse lines or threads thrown up to the surface.  I do not know whether this plan of making up will last, nor do I know how the quantities of Roman sash-like materials will be used – probably for sashes and trimmings.  Ginghams and zephyrs will be both striped and embroidered; and a new material will probably replace nun’s veiling in public favour.  It is called “oriental crepe” by some houses, by others only “crepe”, but all these crinkled crepe materials are made in woollen and cotton under many names, and are one of the season’s novelties.  Silk is very much mixed with all the woollen materials of the year; and even Scotch tweeds, when striped, have a glistening thread running through them, which makes them look lighter and more glossy.

So far as colours go, very pale and delicate are the hats as yet produced for the washing dresses of summer – pale blues, greens, buffs, and pinks, the patterns being small, and pretty Watteau-like flowers and bouquets.  We shall see many combinations of colours, such as scarlet and blue, yellow braiding on blues and browns, and blue and white in stripes.  Yellow and black also promises to be a favourite mixture.  The popular shades, so far as we have yet advanced, are Noisette, almond, cafe, chamois, tan and ripe corn.  These, as my readers will see, are all of the same family of yellowish wood-colours, and they promise to be more used than anything else for the early days of spring.  They are economical, too, for they do not show the dirty very much, although they may be considered light.  Meerschaum, chaudron, and two greys called “smoke” and “elephant” are also new colours, and to my surprised eyes a whole family of reds are visible, of the dark handsome Pompeian or Venetian order.  Terra-cotta, too, and dark browns are all to be seen, and also an ugly idea, which has been invented by someone without taste, to my mind, viz., that of trimming them each and all with black yak lace.  In satins and silks all the last hues I have named will be popular.

The new spring mantles do not show much change, but are only the mantles we have latterly been wearing; in the “Visite” and “Dolman” shapes all the newest ones are very short in the back, with long fronts and high shoulders.  The backs are certainly less ornate, less full and bunched up, and have fewer ornaments added to them.  Coloured mantles of cloths, plushes, and velvets are very much worn; in plush, I think grey is the popular hue.  I cloth, red seems preferred, the cloth being thick and coarse-looking.  I imagine from this that later in the season we shall have a majority of coloured mantles; but I fear that people to whom economy is an object will have to confine themselves to brown, and not stray into the more inviting pastures of red or grey, bothof which are too remarkable for the adoption of those who have only one mantle, or at most two, during the year.  It is never wise to choose any article of dress that is fashionable enough to show age within the year.  This is especially the case with mantles, which have to be selected with great care.  The one chosen should always be of the latest style, but should never be of a kind or shape to be remarked for its special peculiarities.  To do this requires a very observant eye, and the expenditure of some thought.  This thought the more conscientious of my readers, if they agree with me, will not object to give, always bearing in mind that the right and honest expenditure of money is a duty, that much of our rightful share of personal influence in this world is derived from our outward appearance, and that here is one, at least, of our duties to our neighbour.

I must not leave the subject of outer garments without a mention of the small Zouave, Corsair, Spanish, Prussian and Giaour jackets, which promise to be much worn, and also to be rather a useful addition to our dress.  I have put down all the list of names, for they seem to be called almost indiscriminately by all, and, indeed, in most instances they really do form a part of the national dress of the country named. They are made without sleeves, are fastened at the throat, and are either cut round at the corners at the waist, or else fall over it in square corners.  Some of them have hanging sleeves, but the majority have none. They are edged with beads, and lined with a colour, and they are sometimes very richly embroidered and braided.

The stiff ungraceful bouquet of many years’ duration will be soon superseded by the Elizabethan posy, and at the March drawing-rooms ladies were seen with natural flowers in bunches, just as they were gathered.  The true posy has no wires, and spreads out its leaves and flowers at its own sweet will.  The stems, as of old, are tied with ribbon, a bunch of daffodils, with daffodil-coloured ribbon, and white lilacs with pale green.  Being thus very simply prepared, they are easily carried in the hand, and their scent and beauty can be really enjoyed and admired.  Real flowers will be used instead of artificial ones to decorate Court dresses this year, and one cannot help rejoicing at every change that brings so charming an industry as gardening into requisition, for it is one that ladies, young and old, can follow; and it is, moreover, remunerative and not too fatiguing.

Our illustrations this month represent the private view of a separate picture and the public view of a large London picture gallery.  The gowns shown are suitable for the spring days before the warmer ones come in.  Velveteen, serge, and Scotch tweed are the general materials, and they are made up with the straight cut tunics, simply draped and trimmed, which we have endeavoured to illustrate.  The bonnets shown in the larger illustration are both of the same order, jetted fronts and lace backs, the lace being laid over a colour, the pompon of feathers matching it, the strings being of black velvet.  For the paper pattern this month the pattern of the black velvet bodice worn by the figure with her back toward us will be given.  Though made in velvet it will be suitable for any material or dress.  The front is pointed and buttoned up plainly, but one of the many plastrons illustrated may be worn with it.