Gabrielle Ray – Peggy – The Tatler – Wednesday 15th March 1911

The Highway of Fashiom: By Marjorie Hamilton.

The Jupe Culotte.

WERE further testimony required that feminine caprice loves novelty it would be found in the welcome that has been accorded to the jupe culotte or pasha trousers. It must, however, be recollected that although all the world is talking about them few women have had the temerity to wear them in the public thoroughfares. Personally 1 do not believe that they will be popular albeit the majority of the modistes are showing them; as a matter of fact it is really to satisfy the curiosity of their clients as everyone is desirous of obtaining a view of them. Madame Paquin has set her face against them from the outset, contending that they are far from graceful. Naturally the divided skirt of the sportswoman is quite a different affair. Further more, as the back view is far from becoming, in the modified forms a floating panel or very broad ribbon sash is introduced which springs from above the waist-line where evening and reception dresses are concerned.

Across the Footlights.

Many, however, will contend that the foregoing remarks are rank heresy should they have seen the idealised jupes culottes worn by the chorus in Peggy the new play at the Gaiety, in which the culottes are of satin and the over dresses of embroidered silk voile. The colour schemes are quite beyond description; there are to be found the whole gamut of purple, rose, khaki, green, and blue shades, but then it must not be forgotten that these lovely affairs are seen amidst appropriate surroundings. In striking contrast to these extreme creations is the simplicity of the dresses worn by the principals. Miss Gabrielle Ray as Polly Polino is seen in an extremely simple high- waisted shell-pink charmeuse dress, while Miss Enid Leslie as Diamond, the barmaid, wears a pale blue satin dress and a little lace apron finished with a broad sash at the back. Her cap of lace and ribbon is the newest phase of the Quaker bonnet, and should be noted by matinee devotees as they could wear one of a similar character without fear of obstructing the view of those behind them.

The New Colour.

There is a wonderful charm about the new colour, chaloupe red; its elusive shades are seen to the greatest advantage in the dress worn by Miss Phyllis Dare, which is decorated with a double row of buttons from just above the bust-line to the hem of the skirt; at the base of the column of the throat a lace turn-over collar edged with embroidered ninon is introduced, below which is a draped delft-blue bow. The cynosure of all eyes is Miss Olive May’s (Doris Bartle) it will be recalled that she is the daughter of the American multi millionaire hat of white tagal straw built on the lines of a modern fireman’s helmet embellished with two ostrich couteau plumes, one white and the other black, while her dress is of white silk with a pretty draped corsage.

Fascinating Bathing Dresses.

In the second act Miss Phyllis Dare, Miss Gabrielle Rae, and Miss Olive May assume fascinating bathing dresses of pink and white silk well-nigh concealed by bathing wraps; it is indeed a pretty sight to see them reclining in their chaises longues. A few words must be said en passant regarding a lovely gown worn by Miss Phyllis Dare; the fourreau is of the palest blue silk veiled with shell-pink chiffon, the hem bordered with diminutive roses, which is just discernible beneath the rather flat pannier drapery of silver and white striped gauze. Over her shoulders is arranged an attractive white chiffon wraplet edged with a handsome fringe; the last but certainly not the least attractive detail of this toilette is the quaint little head dress of lace and silk reminiscent of the revolutionary bonnet.

Fashionable Millinery.

In spite of the many excursions into the realm of novelty which have recently been essayed by the advanced milliners, it must be confessed that the large hat still pursues the even tenor of its way; naturally it has rivals, but they cannot be regarded as very formidable. Pictured on this page is a quartet of fascinating head-gear epitomising La Mode’s latest commands. As will be observed, the pretty little motor bonnet is reminiscent of those worn during the Revolution, while the modified Napoleon is worn at quite a different angle than was formerly deemed correct. A very pretty model which recently made its debut was built on the lines of a modern fireman’s helmet, the crown encircled with a wreath of tiny ribbon flowers.

The Spell of the Magyar Broken.

At last the spell of the Magyar sleeve is broken, and in the new models the sleeves are put in separately from the corsage, but little fulness is permissible over the shoulders, and there are signs on the horizon that ere many weeks are over the bell sleeve will lead the van. Quite a novel idea is the insertion of a panel beneath the arms of the same material as the trimming of the dress. For instance, a dress of blue serge with a half- tunic of striped blue-and- white foulard with revers  of the same on the corsage would have a vandyked panel beneath the arms of foulard, the stripes arranged vertically, the reverse of the tunic. The half- tunic is quite a novel idea and very effective; it springs from the folded sash in front and terminates some 6 in. above the hem, and need not be of a transparent material. It commences about 4 in. from the right hip, is brought over the left hip, and finally loses itself at the back beneath the left fold of the box pleat.

Consistency in the Choice of Jewellery.

There are many women to whom the appropriate comes naturally, and they would never dream of wearing jewellery which would strike a discordant note in the toilette. For instance, they would not don heavy ornaments with the present “blown-together” dresses, but would select designs in which delicate traceries with small drops predominate; they know that it would be false art to do otherwise. With the jewellery in the salons of the Parisian Diamond Company, 143, Regent Street, W., the ideal has been achieved, and the modern vraie elegante will find a veritable embarras de choix in chef d’oeuvres of the jeweller’s art which will directly appeal to her susceptibilities.

 

The Tatler – Wednesday 15^th March 1911

 

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