21 February 1880 - 'Hats and Bonnets of the Nineteenth Century' by S.F.A. Caulfield

In which we invite the readers of the G.O.P. to LOL at the ridiculous things people used to wear on their heads.

The extraordinary freaks of fashion in olden times scarcely exceed the absurdities into which we have been led since the first development of a bonnet out of the hat. This variation in our out-of-door head-dress dates from the year 1795. The original bonnet was shaped like a jockey-cap, the brim in front spreading out rather far on a line, with the top of the ear. It was tied on with lavender-coloured strings without ends, was composed of straw, the dome-shaped crown, decorated with red perpendicular stripes, meeting at the top (still jockey fashion) while the projecting brim was plain, and a wreath of laurel leaves surrounded the head.

Small-sized bonnets continued to be worn, as well as hats, up to about the year 1820, when, as our illustration will show you, the brim had expanded and there was no cap border to fill up the empty space underneath it. Some kind of ribbon ruching decorated the brim all round, the latter reaching down below the ear; and there was also a ribbon trimming for back round the crown.

Ten years afterwards a very plain and unbecoming style came into fashion - trimmings were almost at a discount. One plain piece of ribbon was passed round the middle of the coarse straw bonnet, the ends of which were tied under the chin; while, at the back and under the flat-lying crown, there was a frilling of the ribbon or of a piece of silk of the same colour, as a finish to the bonnet, and a shade to the back of the neck, called a "curtain". The straw was either of the natural colour, or else dyed black or brown. Sometimes a plainly-tied bow was placed, like a butterfly, on the top of the head, midway between the crown and the brim. Such a bonnet as this may still be seen on the girls of some of the "charity schools".

A few years afterwards young people often wore beaver bonnets, which were shaped much in the form of the above-named "cottage". These were trimmed with thick silk cords and tassels, matching them in colour.

Simultaneously with the wearing of these two descriptions of bonnets, turbans were in fashion amongst the dowagers, and these were transmitted from a still earlier date. A beautiful satin of a delicate shade of French plum-colour, or violet-grey, was sometimes manufactured into a high turban kind of cap, having a flat band of the material across the head, a high "caul" standing up at the back, and a narrow frill of lace round the face. Others wore a loosely-twisted and more Turkish-looking turban; either of velvet, or silk, or of both folded together and usually very bright in colour .These were decorated, as in the illustration, with feathers or other ornaments.

It is scarcely surprising that the hideous article known as the "cottage bonnet" of 1830 ceased to have any attractions after a reign of some seven years, and that we flew into another, and just opposite, extreme of fashion, when the immense flaring bonnet, assigned to the year 1837, the year of the accession of Queen Victoria, took the economical amongst us so painfully by surprise, with its floral decorations inside the deep front, and the three or four nodding ostrich plumes, towering high above the crown. The strings securing it were tied, in bows on one side, and, as you may imagine, it was a matter of some inconvenience to walk out on a rough day, as the preposterous front acted quite as a wind-sail, and it was with no little difficulty that it could be kept on the head. The name of this ill-contrived head-covering was an "opera hat", though "hat" it really was not; and it was either made of plain velvet or of silk. It is also worth observing that they were worn not merely out of doors and at the opera, but also at balls.

In a couple of years from the first appearance of the "opera hat", some modifications took place; the shape was a little changed, but the dimensions were reduced, and the trimming was omitted - at least, a plain band round the crown, a binding round the brim, a curtain, and a bow or two at the back, replaced the costly plumage of the previous two years. A cap border was also worn, very slight round the upper part over the hair, and very wide and thick at each side of the face.

Passing over some few years, and the trifling varieties, regulated by individual fancy, either of the milliner or the wearer, helping to fill a gap in the history of fashion, we find that a soupcon of the discarded "cottage" appeared about the year 1846, rather less unsightly, yet meagre in design, lying flat on the head, brim and crown being run into one, and parallel respectively with each other. A wreath of leaves or flowers enlivened its dullness outside, together with some narrow bands of ribbon or velvet laid across it at equal distances apart. No cap-border was worn with this head-gear, but the vacant space between the front and the face was partially filled up by large sausage-like rolls of hair, laid against the cheek and extending to the jaw, while a comb confined the braids across the forehead just above the eyebrows. These very unpretentious bonnets were made of straw, and were tied on, under the chin, with a bow of broad ribbon, the shallow curtain being of straw. Very pretty fancy straw bonnets were worn within the years 1840 and 1850, with trimmings of the same. These were Tuscan straws, of a buff colour, and sometimes the bonnets were made in alternate bands of straw plait, and gathered quillings of silk.

 Gathered silk bonnets, of plain or checked material, in various colours, came into fashion in the year 1848, and with them the whisker-like cap-borders, lying on each cheek, and unconnected one with the other by any upper border. Ribbons and flowers embellished these quillings, which could be seen in profile below the rim of the bonnet-front, which was a good deal cut away from the cheeks on either side. Broad strings were tied in a bow under the chin, but no trimming decorated the exterior. The brim was moderately deep, spreading at the sides, and depressed at the top.

In about the year 1850 the brims of our bonnets were very wide, round, and deep, and the deep cap-frill of the previous style was still retained. These bonnets were of straw, and had very broad strings, tied in a large bow under the chin.

I do not pretend to give an unbroken list of all the out-of-door head coverings worn in each successive year, from the beginning of this century up to the present time; but so far only as any great varieties of fashion cropped up, from time to time, during that period. Of course there can be but one opinion respecting the fact that no fashion of the 19th century has ever been so extravagantly bizarre as those of the head-dresses that immediately preceded the creation of the bonnet. For example, if the "fair Mary Anne Robinson' otherwise known as the "Bird of Paradise", (an engraving of which may be seen in Fairholt's "Costumes of England") and others quite as monstrous, that excited no surprise nor disapproval in the year 1728. Those were the trying days when our unfortunate grandmothers or great-grandmothers used to require the services of a hairdresser on every occasion that their hair had to be "taken down", turned up again, and stuck all over with ribbons, flowers, feathers, and lace. What with all the false hair, pomatum, powder, and pinnings on all of the decorations in their right position upon a cushion laid on the top of the head, no one could rear up such an amazing erection for herself; nor could any ordinary maid do it for her. To save expense, therefore, a hairdresser had to be engaged monthly, or by those who could not economise in such a matter, weekly; and the operation he then performed was called "opening a lady's head"; when, as they significantly expressed it, "it would keep o longer!" At night, a large "net fillet" was put over all this grandeur, combining indoor head-dress, and outdoor bonnet, and hat all in one; and this bag was tied closely with a drawing string  for the night. I suppose that at no period of the world's history did women suffer so acutely  for the satisfaction of looking each like her neighbour.

Weary of the round broad brims and heavy cap-borders of the year 1864, we seem to have returned to our craze for height. Straw was still in vogue, and cutting away the brim at the ears, we raised up the centre to such a degree that, at a little distance, and regarded "full-face" it looked like a sugar-loaf. The whole of the inside was a mass of flowers and ribbons, and a broad pair of strings were tied under the chin. These bonnets were called "spoons".

Look at the hideous hat of 1865.

After a reign of about two years the style of our bonnets again underwent a complete change, and the cone-shaped brim was seen no more, Then came in a very reasonable and pretty little cap-shaped head-dress, made of lace or tulle, upon a shape of buckram and wire. A small trimming of flowers decorated the exterior but the bonnet lying flat down on the top of the head, there was no room for embellishment inside the brim. A pair of tulle or lace-veil-like strings were connected together, at some distance below the chin, with a small bouquet or single flower.

In the year 1869 as you will observe from the illustration supplied, this pretty article of dress was deformed into a sort of patch, made of wire and buckram, covered with tulle and lace, worn like a saddle, and looking like a basket women's "pad" on the top of her head, to save it from injury in carrying her burden. A pair of silk lappet-strings, laced or fringed-out at each side, were brought together in the same style as those previously worn; the hair being elaborately dressed, and made the most of, to supply the deficiencies of this apology for a bonnet at the back.

Excepting the elderly ladies, hats appear to have aided considerably in filling-in the space of time between the introduction of the last style and the two nondescripts - half bonnet and half hat - that succeeded it in the years 1875-76. The first was of silk, and was perched on the back hair, showing a plait or coil of it in front. The brim was rather wide, and turned up all round. A large rose or bouquet was worn underneath it, over the left ear; and a large ostrich feather inserted in front, fell back over the crown. The hair was no longer brought down on either side of the forehead, but continued, as in the patch-bonnet, to be brushed back from the face; and the short-cut fringe of that over the forehead, so worn in 1866, remained in fashion til 1876.

The year last-named saw a change in our head coverings. Straw reigned once more, but there was a little of it in the saucer shapes that again served only to cover the back-hair, and to leave one plait of it visible in front. Feathers, silk bows, and bunches of fruit nearly hid their foundation from view; and a pair of broad tulle or net strings were brought round from the centre of the back, to be united on the chest of the wearer. These two last-named bonnets were in very bad taste, and had an indescribably vulgar effect, perhaps to be accounted for by its peculiar associations, i.e., the great tenacity with which the lower classes have retained these shapes, with their dirty, gaudy finery, and the bold look of suck a lack of covering, and shade to the face out of doors - placing them on the back hair as they still do, up to the present time.

It would be impossible to say what style of head-gear more than another distinguishes the taste of to-day; so many are the forms adopted to suit the faces or fancies of the wearers; nor would it always be possible to distinguish which was a bonnet and which was a hat.

7 February 1880 - 'The Dress of the Month'

The return to favour of velveteen has placed great possibilities in the hands of our girls of pretty and stylish dress, which, without being expensive, is rich-looking, very warm, and suitable  for the day time and the evening. The new velveteens of the season are distinguished for their improved texture and their excellent colour. In black they are especially good, and many experienced people fail to discover that the velvet dress, which they have so much admired and the purchase of which they perhaps called extravagant, was only a good velveteen after all.

The "Louis" velveteen, which is one of the best kinds, varies in price from 1s 6 1/2d, to 2s 11 1/2d per yard, but the prices between these are quite good enough; that at nearly 3s will probably be thought too expensive for ordinary use, though it should be remembered that velveteen cleans, dyes and wears out at least three ordinary dresses; so that the purchase of a good one is really an economy in the end. Velveteen is, of course, a "best dress"; that is to say, it is suitable for church, visits, afternoon teas, luncheons, and quiet dinners - in fact, for all the occasions when a young girl must look her best and brightest - the festal days and seasons of her life.

There are many methods of making it. In many cases it will be found useful to have two bodices made at first for the skirt - a plain long-basqued one for the day, and the other rather more trimmed, and with elbow sleeves, or cut square, for dress occasions. Now, that short dresses are worn in the evening by everyone, we can take advantage of the fashion, and save our material. As a rule, coloured velveteens are not very good, and, although they are more expensive at first to purchase, they are less to be relied on for lasting wear, and they grow so remarkable that all your friends recognise them, and know them far too well before they are worn out. Our illustration this month shows a charming costume of velveteen, mixed with a camel-hair cloth, a serge, a diagonal, or indeed with any one of that numerous array of materials brought out each season by the best Welsh manufactures and sent by them to any part of England or even the Continent.

The dress of the figure on the chair shown in the picture has a short all-round skirt of velveteen, with a flounce laid on underneath its edge, which is deeper in front than at the back. The over-dress is a short draped polonaise, of cloth, diagonal, or serge, which buttons at the back, and has velvet sleeves. For out-of-door wear there is a jacket of the material, without sleeves, with revers and collar of velvet. It is tight-fitting and double-breasted, and,  for the sake of warmth, should be lined either with flannel, or wadded, and lined with alpaca. The hat or bonnet is of felt, of the colour of the dress, the feather being laid round it in cavalier fashion.

Of course this description may be much modified in every way, but, as represented, it is a costume of very moderate price. The cost would be increased by making it entirely of velveteen, but it would become at the same time more dressy. Plain velveteen would require a trimming, and black brocade is preferable to either fur or jet trimmings; fur bands being more used and more suitable to cloth and serge costumes. The brocade is not expensive, although it sounds so; I have seen it as low as 3s per yard at about 23 inches wide. This short polonaise above described may be worn over any kind of skirt this winter, for we have again returned to that useful and delightful fashion of wearing a different skirt with any bodice we may have.

For this costume, those girls who are not fortune enough to have furs may make muffs and capes to match for themselves. These are now quite as stylish and newer when made of velvet, satin or plush. The cape is quite a plain round one, in shape like the fur and cloth coachmen's capes which we have worn so long. It is generally wadded and lined, but this must be done most carefully, so as to avoid making it at all bunchy. It may be plainly corded with satin to match the colour, or have the edges turned up and the lining hemmed down over it. Of course the stitches must not be taken through to the right side. A small round collar may be placed at the neck. The muff is gathered in puffs underneath, on the wrong side; three gatherings inclusive of those at the edges being enough. The lining should be of silk, and those who have never before attempted to make one should study a fur one, and the method in which it is put together. The amount of silk and velvet needed is very small - half a yard of each being enough for those long skating muffs, which reach up at the wrists, like cuffs, and are larger in the centre, and is far too much  for the tiny muffs in vogue. The muff only requires an edging of black lace, if that be available, or else a yard of corded ribbon which is put through it, and tied in a large bow and ends up on the top.

The Pompadour velveteens, as they are called, have dark blue, green or brown grounds, covered with floral patterns, such as little roses, little forget-me-nots, or the smallest of pinks, in their natural colours, with sprays of green foliage. In short, they are the same things in velveteen that were worn as chintzes last summer. The same idea has been carried out in flannels, and both are charmingly pretty, either for small children, or their older sisters. One thing must, however, be remembered about them, and that is that they are cheap, and represent at best an ephemeral fashion, so that next winter our best dress of this year would look particular, and be easily marked as a fashion of last year. This is, as I have said before, very undesirable, and must always be avoided by every girl who wishes to dress unobtrusively, as well as prettily. So these new introductions will be more wisely used as trimmings for last year's dresses, and in that capacity they will be most useful. They will make pretty new cuffs, bands for trimmings, and plastrons  for the front, and, as everybody's dresses always show wear first at the sleeves and in the front, their adaptation in this way will make an elegant and fashionable costume.

A very pretty new style of under-skirt has just been brought out, made of dark flannel  or serge, trimmed with fine kiltings of the same, while on the kiltings and above them in plain bands is sewn some of the dark imitation Indian cashmeres, or "Paisley shawlings" as they are sometimes called. This makes a dark, yet bright skirt, and it may easily be manufactured at home with the aid of the sewing machine.

Even though writing in February, it is useless to think of warmer days, with all the experience of the past before us, and March is certainly a more bitter month as regards winds than the present; so I have kept the winter steadily in view, in addition to which, nearly everything about which I write is so novel at present that, even next winter, it will not be demodee, or passee. The casaquin, or long cuirass bodice, of Paisley or Indian imitation material, is rather more spring-like perhaps. As illustrated in the other figure in our picture, it appears as a house costume, but in Paris last autumn it was constantly used in walking, and made in exactly the same shape as represented.  The same material is used for a gathered plastron down the front of the skirt, but this is not needful, as any skirt can be worn with it, short or long, so that it accords in its hue with the general colour of the casaquin. In the evening it is very popular, but then it is made of a rich and expensive Indian stuff, generally interwoven with gold thread, through its patterns of palm-leaves or scroll-work. But the imitation Paisleys are to be obtained at prices ranging from 2s to 4s per yard, and these are quite good enough, I think. It will easily be seen how an old black cashmere or silk skirt can be turned into a fashionable costume, with the addition of a novel casaquin bodice, such as the illustration represents. The other day I saw a small toque hat worn with one, edged with a gathered band of velvet, and the loose crown of it was made of the material of the casaquin. The whole costume was so pretty and simple that it is worth describing. The skirt was a kilted brown cashmere, with a brown velvet scarf; the casaquin was of a reddish brown, the pattern through it being "old gold" and the hat, as I Have said combined the two, and so did the small muff.

There is nothing that the home dressmaker has more trouble in doing than in trimming the sleeves when made. It is difficult to avoid giving a kind of home-made look in finishing them, which always ruins the effect. In reality, there is no great secret in the art, and any trouble arises from want of common care and neatness, and the lack of sufficient turnings, which soon causes the home-made trimmings to look untidy and even ugly. The two which are have illustrated are of the latest fashion and are both so simple that a little attention will enable anyone to comprehend them.

Fig.1 is a plain bias piece of the figured material, over which is laid, as a revers, a bias piece of the plain stuff, turning it towards the hand. On it is placed as a trimming a flat gallon or braid. The three straps at the other side are also of the plain stuff, and should be cut out and lined with tarlatan, or lining muslin, to hold them firmly. They should be all made before being sewn on.

Fig.2 is also cut on the bias, and is put on round the wrist. The plain part is confined to the top half of the sleeve, the wide part being joined into the seam of the sleeve when it is sewn up.

The small Henri III ruff, as it is called in Paris, is most fashionably worn at present, and is within the power of every girl to make for herself. It consists of two lengths of lace, gathered separately, and arranged in shell-shaped patterns on a band of muslin. The front is finished by a rose and ends of ribbon, which may be of pale blue, or of black velvet if the rose be a pink one. Six yards of lace will be sufficient if it be desired to have the ruffle very full, and the lace should be purchased of a sufficiently good quality to be washed and done up several times.

Fig.4 is an example of one of the new bows, which are called after Louis XIV. They are a very considerable size, some of them large enough to cover the front of the dress. The lace used is the kilted Breton, which can be procured of all widths ready kilted. The lace is sewn upon muslin, which can then be placed as shown in the sketch; a small, square, double foundation being first made by which to pin it to the dress. The ribbon is of some pretty colour to match, or contrast, with the rest of the dress.

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.

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.

25 March 1899 - 'Frocks for Tomorrow' by the Lady Dressmaker

One of the special colours of the coming season is said to be yellow, but no exact shade is quoted, and so I had better warn my readers and tell them that there are yellows and yellows, and some of them are calculated to make one look – dreadful! I think a lemon yellow is, as a rule, the safest shade of all.

White gowns are in preparation, and, so far as I can see, will be quite as much worn as they were last year by everyone, and really they seem universally becoming.

Black skirts are no longer correct when worn with light coloured blouses. There should always be a repetition of the colour of the skirt in the blouse. For instance, the skirt being of blue cloth, the blouse should repeat the blue, mixed with any other hue you may select.

I do not see any sign of that disappearance of the blouse which has been so often threatened; but I see that the advent of the tight-fitting small coat may render them unnecessary, as the small coats are made in such a dressy style, with fronts of lace, and pretty decorations, so that they take the place of a bodice.

There is also a very decided advance in the popularity of the Princess dress. Indeed, so tight-fitting are the present styles, that we might really just as well adopt it, for we are wearing what is next akin. In evening gowns there is a great liking for it, and a desire to do away with the waist-band that has been worn so long; and as we must be slim and slight this year, if we are to be at all in the fashion, so we shall see that all styles will tend to help this one. What a sad thing for the extremely stout! But I think it is in reality a good thing that some women and men should never allow themselves to become so, for if we think the matter over seriously we shall soon arrive at the conclusion that it spoils our usefulness both to ourselves and to others, and makes our days a burden. So if Dame Fashion steps in to decree against it, we may hail her interposition as a blessing indeed.

The “tunic” drapery is the new note of all the spring skirts, and really so tight-fitting are all of them, that we wonder how we are going to sit down! In Paris this form of trimming has been most popular,  and there the blouse and skirt are arranged so as to look exactly like a polonaise.

The new toques are larger than those of last year, and much wider. They generally should match the colour of the gown with which they are worn. The trimmings are put on both in front and on the left side, and consist of ostrich tips, chou bows, or rosettes. It is said that gold ornaments are to take the place of paste ones in all the hats of next season; and I notice that steel buttons are more used than anything else for gowns and blouses.

FOUR SPRING GOWNS

The edges of so many of the new gowns are cut in scallops that this mode of decoration seems to be quite one of the fashions of the year, and a glance at the drawings for the month shows how extremely short the coats have become. That called “Four Spring Gowns” shows some of the prevailing modes with great accuracy. The figure on the extreme left wears a cloth Princess gown made up with tartan velvet yoke, sleeves, and panels. The colour of the cloth was blue, and the tartan was one of the blue and green ones, with a tiny red line. The front is decorated with embroidery. The next figure wears a velvet or cloth gown of black, with a coat scalloped and braided. The collar is of white silk embroidered with black; hat of velvet, with white silk and white feathers. The third figure wears a gown of sage green cloth, trimmed with a green silk check and bands of green velvet, front of chiffon and white silk. The seated figure wears a plain walking gown of grey cloth; the bodice is a tight-fitting one, with a very short basque; and the whole is edged with rows of machine stitching on the bodice and skirt.

TAILOR-MADE GOWN OF SHEPHERD'S PLAID

There is a great liking this spring for shepherds’ plaid, and it seems likely to be used for gowns and blouses as well as capes. Our sketch shows a tailor-made gown, which is trimmed with black braid, and has one of the shaped flounces on the skirt. The collar is lined with white silk, and there is a front of tucked silk muslin, and a tie and bow of the same. The hat is of a white straw, and is trimmed with white plush, black velvet, and black and white feathers. Veil of white, with black dots.  The second figure for this illustration wears a charming costume of pale grey cloth which shows the manner in which braid is put on and mingled with embroidery. The braid in this case is of white silk; the edges of both coat and epaulettes are scalloped; and the braiding is arranged in a pointed shape on the skirt. The toque is a very pretty one of a grey shade to match the gown; and is of velvet, ornamented with a wreath of green leaves and an arrangement of white wings.

TEA-GOWN FOR A YOUNG LADY

It is sometimes useful to know how to make a tea-gown for a young lady which will be useful and pretty and youthful enough in its style for the years of its wearer. The tea-gown illustrated is of black silk, and is cut very plainly. It opens over a skirt of white satin, with a vest of the same. This last is covered with white net with jet embroidery. There is a flounce of the silk on either side of the front, which is lined with white satin, and the high collar is lined with the same. The lady in out-of-door costume who stands beside her is dressed in a dark blue cashmere or cloth gown, scalloped and trimmed with white braid, a hat of fancy straw, with pink roses and quills.

I have no doubt that many people are wondering whether capes are going to be worn still, and how they will be made; so I must proceed to answer that question now. The new capes are much like the best winter ones have been, cut very round in front and scant as to fullness, rather longer too than they have been worn at the back, and with the same very wide and full flounce surrounding them. There are also some very short ones, but just now it is said to be too soon to speak of capes, or indeed is there much known about purely summer things, though I hear that thin materials will be worn over silk as much as they were last year, and some new materials which combine the thin and the thick together have been brought out; they are woven together making one material. But I do not know whether they will be popular, and most people like the silk undergown and its pleasant rustle. The effort to deprive us of them resulted in failure, and nun’s veiling and all soft linings were pronounced a failure.

Amongst other novelties, there is a new shape of Tam-o’-Shanter, which has a kind of peak added to it in front, rather after the manner of a jockey’s cap. This makes them far more becoming, as well as more serviceable in all weathers, and in every way they look more close fitting than of yore. This new Tam has been worn during the last winter at many of the country meets, accompanied by a long tight-fitting coat. A bright red, a light mauve, and a pretty stone colour have all been seen, and very well and suitable they looked. There has been a universal tendency to wear light-hued cloth this season, and nearly every shade of red and scarlet.

I suppose everyone has seen by the papers that the latest idea at weddings has been to have the wedding breakfast in the train which conveyed the bride and groom, as well as the whole wedding party, to London from the country town which had been the scene of the marriage. This fashion will of course be reserved for millionaires only, but as straws show how the wind blows, at several recent marriages the newly-wedded pair have made their escape from the door of the church and there has been no wedding reception of any kind. So perhaps even our very modified form of wedding entertainment will be reduced still further and end off at the church.

The going-away gown at all the recent smart weddings seems to have been invariably made of cloth: man-colour, petunia, light grey, turquoise blue, dark and light mauve, and heliotrope are all colours that have been seen at recent marriages in good society. The first-named was lined with a shot-blue glace silk and was made with a bodice which had a full vest of cream-coloured lace and revers of dark blue velvet. The dress of petunia cloth had a coat of petunia velvet, slashed with mauve; and as a rule gowns of pale grey are trimmed with grey velvet of a darker shade, with a hat to match. The turquoise blue was an embroidered gown with chenille and silk, and was relieved by cream-coloured lace and a collar. All of these gowns will be useful afterwards, and were none of them too grand for daily life. This is a point that many girls with a limited allowance have to think of, as the going-away gown often has to become the walking and visiting dress of the future days. So it must be chosen with deliberation and care.

I hear that in Paris the popular gown for the early spring for ordinary wear will be black serge; this is made as a coat or Directoire coat bodice, braided or not as is preferred, in fact maybe in any way that seems suitable to everyday use. The best gown as I have said is of some light-hued cloth, and for best summer wear the thin grenadines over silk are most fashi8onable as well as the most useful of dresses. So there is no doubt as to the gowns that will be wanted. The next thing to consider is what are the requirements of our own wardrobes, and what can we do without, alter or purchase for the coming season.

26 November 1898 - 'Frocks for Tomorrow' by the Lady Dressmaker

Good news, the Amateur Swimming Association are close to deciding on the design of the regulation swimsuit! Also this month, dress is fitted and clinging to create a tall slender ligne, tre-corne hats should only be worn by the young and beautiful, puffy sleeves are gone, and flame-red orange is a popular colour in French millinery currently, though the French hats unfortunately don't suit the current trends in English hairdressing.

The first thing on my list with which I must deal is the recent meeting of the Amateur Swimming Association, at which the vexed question of a regulation dress for the women members was discussed; and there is a good chance that it will be wisely and properly decided so that there will be a regular uniform dress in future, and all misunderstanding will be avoided. The material to which the lady delegates appear to have given in their adhesion is stockingette; which they consider superior in every way to serge, flannel, silk or merino. A model costume made of it, shown by the Birmingham Ladies Club, was so much approved of by the large assembly of ladies present, that it was adopted as a guide, the fullest liberty as to trimmings being given, while only three colours were allowed, viz., navy blue, red and black. The Birmingham costume had flat facings of Turkey-red twill, but of course it is open to any club to select their own colours. It buttoned on the shoulders, and by means of gussets under the arms a short sleeve was formed. The great recommendation, however, was its cheapness, as it was announced that it could be produced in quantities of not less than one dozen at a fraction, over two shillings each, in the various sizes required by the wearers, Of course where there are so many working women’s clubs, this question of cost is a grave consideration. The costume finally recommended was much on this Birmingham model.  With the additional advice that “it should reach, at least, to within three inches from the knee” should be cut square at the neck, and button on the shoulder, where it must be not less than thee inches in width, and where it must be shaped to the arm beneath, so as to form a short sleeve.

Now that swimming as a pastime has become so popular amongst women and girls, and when it is taught in so many schools, it is only wise to decide on a suitable dress, which can be modified to meet all views, and trimmed to please all wearers, and be attainable to limited purses, and above all, should be seemly to wear in a mixed assemblage of all ages.

Although we have worn the Eton jacket with more or less decoration for many years, it seems still to hold its own, and is very becoming indeed to many people. The same may be said of the Bolero fronts; both of these are braided and buttoned this autumn, and the braiding is generally in panels, while the buttons most used are of the fancy order. Basqued bodices with and without belts, three-quarter-length coats, quite tight to the figure, and a coat of the Directoire style, short at the waist in front, with a rounded basque and long coat-tails; all of these are in fashion, and, so far as I see, though all have basques, they may be long or short, according to individual fancy. The great desire of all women this winter is to present an appearance of height and thinness, and all draperies must be sweeping, and the outlines flowing, to meet with our approval. Flounces and frills are used with much discretion, so that they may not contradict the clinging effect. Skirts are, if possible, tighter than ever, and only show fullness at the feet, while as regards our sleeves, the last vestige of puffiness has deserted them, and not even a tiny pleat is permitted at the shoulder, and the whole appearance is that of the old coat-sleeve, which was originally introduced by the Princess of Wales.

Of course, with this clinging effect, we may naturally go on to say that the Princess dress that was worn by a few people last season will be adopted by many this winter; and the newest ones, if in cloth, have very generally strapped seams; the French Princess gowns having very generally a plastron, which is buttoned up on each side with handsome buttons.

In hats, we find the tre-corne much used in Paris; but this is a style only suitable to the very young, or very pretty, so that the wider brimmed felts are more generally popular. Many of the felt hats are made in two colours, the underpart being of a different colour to the upper, and very little trimming is used for them. Low-crowned hats of almost a sailor shape have been predicted, and the boat shape is one of the favourite winter models. Quills and wings have taken the place of the long and graceful ostrich feathers, the former being more suitable for winter weather; a large bow and ends, and jewelled buckles, form part of the trimming, and the hat-pins are sumptuously jewelled, and as every lady tries to select those that are most decorative to her hat or bonnet, they have become quite a feature in the head-dress of the day.

I spoke in my last chat on cloths, and dress in general, of the change that has taken place in the dressing of the hair, and that it is worn much lower; in fact in a coil that lies on the nape of the neck, the rest of the hair is waved in large waves, which lie regularly over the top of the head, and across it from ear to ear, while the front locks are curled over the forehead. The chief difficulty presented by this new departure is in finding a hat or bonnet to go with it; for all the French bonnets are made to go with the high rolled coiffure universally worn on the Continent, but never very becoming to Englishwomen who have good heads of hair and find a difficulty in producing the tiny knot of hair, which is the essential part of the high hair-dressing. The low knot is shown in our picture of the two figures representing the new winter gowns, and called “A Princess Dress of brown cloth”. These two gowns show exactly the prevailing styles of the winter.

 Princess Dress of Brown Cloth

I daresay you will have already seen though perhaps not quite relished the change that dresses are now worn with bodices of the same material, and the sketch in question displays this alteration in style. The seated figure wears a Princess dress of brown cloth, with revers of cream-coloured satin, one of which overlaps the other so far as to close the gown on the side of the front, and the band of cream satin is continued across the front and terminates in a scroll. The satin has a scroll pattern braided on it with brown silk braid, and the cuffs are decorated in the same manner. To those who contemplate having a Princess gown, I would say, be careful to choose a good tailor or dressmaker, and a firm material of which to make your dress, in order to avoid dissatisfaction with your gown.

The second gown is of green face-cloth. The bodice and sleeves are tucked with small horizontal tucks all over them. The skirt is one of the new ones, and is in three tiers, cut away from the front, and each is edged with a small band of chinchilla fur.

Long Basqued Coat and Embroidered Jacket

The second sketch shows a sac jacket of smooth blue serge, with a skirt to match. The jacket is beautifully braided and embroidered in black, both in front and on the shoulders. The hat is of blue felt, trimmed with blue velvet and feathers. The second figure wears a long basqued coat with a fur collar, and wide revers in front which taper down to the waist, and end in two tails. The cuffs are turned back in the new shape, and the collar is high and closes in front. The skirt worn is plain, and is cut in the umbrella style. The hat is a small velvet one, with fur trimmings and white or cream lace. The mixture of lace and fur indeed with all our winter trimmings this year is very remarkable, and contributes to the very light effect of all the millinery worn.

Cape and Muff of Chinchilla and Green Silk

The pretty sketch next in order represents a gown made of one of the new fancy materials trimmed with chinchilla; cape of chinchilla trimmed with green silk and cream lace, and muff to match. The hat is a very charming model, which is called by some milliners a Trelawnley. It droops in front and is made of black velvet, found the crown a very handsome ostrich plume is laid, and under the brim of the hat is a cache peigne of pink roses. The new capes of this season are, many of them, pointed in front and back; and are often caught in at the waist behind. Violet cloth has been very much used for capes, and this is a colour that goes so well with fur of all kinds that it is likely to be popular. Where jackets are concerned, whether long or short in the basques, the latter must fit very snugly round the hips, without fullness, or they will not give the effect of the newest style. Many of the basques are added with a seam just below the waist, and are marvels of careful fitting.

There is a rather strong tendency to use a great quantity of orange in the French millinery; the hue of the moment being of the reddest and most vivid flame colour. The other colours in vogue for the same purpose are green, some shades of red, golden brown, wallflower and much blue in all shades. For capes and coats putty-colour and fawn are much used, and there is a large amount of white used for trimming.

I must not finish my chat without mentioning the ribbon trimmings which have so largely replaced lace, tulle and chiffon ruches, especially upon bodices and blouses. Skirts as well as bodices are ornamented with gathered ribbons. The prettiest effect is given by using two ribbons together, a narrow and a wider one. These may be of two different colours, or of black and white, the latter being placed on the top. Plain bands of ribbon edged with black velvet, or with baby ribbons gathered, are also much used; in fact there seems no style of design which cannot be turned to account in this decoration.

27 February, 1886 - 'Dress: In Season and in Reason' by A Lady Dressmaker

There seems but little to say about new styles or ideas in the month of February. It is too early to think of getting new things, and our winter dresses are not sufficiently worn to need repair, and yet, with the increasing light, they will show wear in March, so it is worth our while to try to be prepared in time for anything that may happen. I feel sure that, to be dressed with economy and taste, all women need much provision. The extravagant woman or girl is always unprepared.

Black seems more generally won than anything else just now for gowns both out and indoors, and black velvet or velveteen skirts with black silk over-dresses seem popular. Coloured velvet skirts are also worn with black silk, and there seems no doubt that this old and well tried friend has once more returned to favour. Dark blue and very dark shades of green are liked for walking gowns and yellow in all shades is liked for the evening, a mixture of yellow and black being used by married ladies, and yellow and white by young girls, white nun's cloth with yellow satin or sateen, or thin white silks and thin yellows mingled.

Woollen materials continue to be the most popular, without doubt, for daily use. Rough woollens are more in favour than serge and diagonal cloths, and they are known under the all-containing name of boucle, a kind of knotted weaving thrown up to the surface on all kinds of smooth woollens, such as vigognes. The newest cloths are rough also, and there seems no doubt that this style will be continued throughout the year. But, as I have already said, very stout people must beware how they indulge in it, as these rough coarse surfaces undoubtedly increase their apparent size. Some of the new cloths are in light shades of stone-colour, drab, and Swede, but I do not think them suitable for winter-wear, and I prefer infinitely the dull red of the hues called terracotta or tomato, and a pretty copper colour which in some shops is called chrysanthemum. These make war looking dresses, and wear better than the lighter shades. The weaving of these clothes is not what is generally understood by that name, for it is not smooth nor fine, but coarse and rough, and very like the consistency of horse-cloths.

In tailor-made gowns I see that all kinds of Scotch materials are in favour; tweeds, cheviots, and the coarse Orkney cloths and velvet skirts are often used with them. Some new woollens are woven with a mixture of silk, the latter appearing in the shape of large stripes. These will be popular in the spring, I feel sue. One of the most wonderful materials of the present winter is plush with lace stripes in it, which seems an unsuitable and foolish mixture.

And now I must devote a few words to the newest way of making up gowns, so that my industrious girls may have an idea how to proceed with any dresses they may desire to make up early in the spring; and for this purpose I shall also select one of the newest shapes of bodices for the pattern of this month. It may be braided or not, as desired, of course. This bodice can be cut also as a round basque by leaving the same length at the sides as at the back and front, in which case it may be finished with two rows of machine stitching at the edge. I hear it said that we are to return to very long basques again with the spring, so long as to allow of pockets being placed in the long straight flaps in front.

Very large mantles are not much used as they were, except for warps in bad weather. The short jacket and the short mantle with sling sleeves seems to be the prevailing fashions, and I see no change likely to be made during the spring, except perhapsto the lengthening of the ends of the mantles in front. There seems an increasing liking for a small mantle to match the woollen dresses, and this will probably be a feature of the spring fashions. The backs of all the small mantles are plain and simple, and are tied into the figures at the back, the edge being turned under, not trimmed. This new small mantle is called the "Bernhardt", and it will probably be selected as the pattern for next month. It is admirably suited for making mantles like the dress, is very easy to make and takes little material and a very small amount of trimming. A pretty clasp may be placed at the neck. The new way of putting the trimmings on mantles is to trim the fronts, neck and sleeves, and not round the edge. It seems as if everything would be worn. Paletots, ulsters, redingotes, and coats are all used indiscriminately - an excellent thing for those who are not well enough off to change their mantles very often.

The illustration depicting an out of door scene gives nearly all of the novelties that are to be seen at present. In long cloaks the sling sleeve is the most popular shape, and the illustration shows one made of a plaid tweed, and one of diagonal boucle cloth, the latter having bands of velvet placed on it as a trimming.

The short mantle on the front figure has the new square ends in front, and the figure with her back to us wears a cloth mantle trimmed with grey astrachan, and a toque of the same.

The indoor scene gives one of the new striped dresses, and a gown with full pleatings in the front. On the extreme left a pretty evening dress is shown, made of lace,velvet and "rosary" jet beads. This is suitable either for a new or the re-making of an old dress, and would be easy to manage at home. The figure at the back shows a gown trimmed after the new method, with bands of velvet, put very closely, so as to allow only a small bit of the original materials to be seen.

It will be noticed that there is little change in dressing the hair, the only thing I remember being that young girls seem to like the Cotogan plait, which is made by plaiting all the hair together at the back and turning it up, tying up the end with a ribbon at the nape of the neck.

There seems to be little change in the shape of bonnets. All are small, many of plain felt edged with fur, and all the crowns are very much cut up at the back to show all the back hair. With this style of course the coils of small braids look the best, and where nothing by the way of hair dressing is achieved, the effect is anything but lovely, and a girl who cares for her appearance had better wear a hat. The newest bonnets have the brim cleft in two over the forehead, and all the trimmings placed there, generally of feathers, or a large pompon of cock's plumes. Grey bonnets and hats are much worn with black dresses. Flowers are hardly seen as the trimmings to bonnets or hats, and ribbons seem the all-prevailing thing in millinery.

All the hats seen are high, and the trimming is put on as high as possible. These seem to be no new shapes at all, save one with a high crown, and the brim turned up to each side, like a "boat-shaped" of the old days.