PARIS MAKES A COUP

That the Feminine World Might Go Smartly Clad Even Though the Powers Fell, Paris Rallied after the First Shock of War and with Her Wonted Authority Announced the Autumn Mode at Her Semiannual Openings

SPECULATION as to the future may be rife, but the fact remains that, despite the war, Paris has made the mode for this season at least. True, Paul Poiret's creations are missing, and but a meager of quota of models has emanated from the house of Worth, Doucet's contributions also are nil, but by Cheruit, Paquin, and Premet, Callot, Bernard, Martial et Armand and Dœuillet models have been shown which establish beyond question the fashions for the present season.

When the blight of war fell, practically overnight, upon Paris many of the models were already completed in the ateliers of the couturiers; for mobilization, it will be recalled, began on the first day of August and the autumn openings were scheduled to commence on the tenth.

POIRET immediately joined his regiment, closing his establishment, to be opened again only—to paraphrase his own expression —"if he should return." Jean and Jacques Worth followed suit, leaving their father as active head of the enterprise. Bechoff also went with his regiment on the first day of mobilization, and Jouda of the house of Bernard went the following day. Mr. Winter, who since the death of Mme. Le Franc last spring has been the presiding genius of the Premet establishment, departed for the front, and lesser losses were sustained by the other houses. However, the array of models which Paris mustered in defense of her ancient prestige was a formidable one, and between the dates of August 9 and August 15 there were shown styles which have established a new silhouette, and settled the question of dress for the present season.

TO generalize, the fashions presented were as follows. Skirts were short, especially in day gowns which averaged in length from five to eight inches above the ground. Skirts were also full, from two to three yards wide,—sometimes worn with a narrow underskirt and sometimes without. One, however, was not conscious of the underskirt and at times it was completely hidden. Many times the fullness was concentrated at the hips. Yokes were frequently seen, and plaited skirts received representation. The full tunic opening at the front over an underskirt from three to five inches shorter than the tunic was a feature. Jackets of all lengths were sponsored, but the godet flare at the hips was a factor in the majority of cases. Separate coats were very voluminous from the waist down, and the smart evening wraps were shorter than the short gowns. Byzantine and other barbaric types were introduced in evening costumes. One-piece dresses were particularly effective and were shown in chemise, moyen âge, and a few princesse types. Few transparent blouses were seen. High collars were introduced by several of the houses. Broadcloth and other cloths with smooth, lustrous surface, gabardine, velours de laine, serge, satin and faille were employed for day gowns, and velvet, gold and silver tissues, chiffon, tulle, taffeta and wonderful metal brocades for evening costumes. Gray, brown, salmon, beige, sage green, Bordeaux, robin's egg blue, Nattier and navy blue, crimson, purple, black, and white were among the colors favored. Fur was lavishly used, usually in somewhat broad bands to edge coats and skirts. Preference was shown for kolinsky, beaver, monkey fur, astrakan, skunk, moleskin, ermine, black fox, white fox and broadtail.

CALLOT showed smart one-piece moyen âge dresses, made with round neck and long sleeves. The skirts to the gowns eminating from this house were very short, sometimes eight inches from the floor, but none of them were really wide at the hem. These skirts were flat in front, slightly draped on the hips and full in back, or flat both back and front with godet flare at the hips. Many long tunics, open at the front, were seen here, and the narrow underskirt was retained. Often a full tunic was opened at the front over an underskirt from two to five inches shorter than the tunic. Suit jackets of all lengths were presented, sometimes with three-seamed flat back and godet flare at the hips. Coat sleeves were either long or three-quarter length, either kimono or seamed at the shoulder, with a wide cuff or a sharp flare at the lower edge. Few of the blouses were transparent.

The neck-line was generally round, but sometimes oddly cut, touching the nape of the neck at the back and straight across the front from shoulder to shoulder. Tulle was the material favored for evening gowns, many of which were trimmed with beads. Some of them had jet flounces. These gowns were but moderately low necked, and but few of them had trains. Transparent wing drapery fell from the shoulders. Street gowns were made of cloth, moire, faille, velvet, serge and velours de laine, and the colors were sage green, crimson, Nattier and other blues, purple and brownish ochre. The furs employed for trimming were ermine, mink, opossum, kolinsky and dark fox. Much black velvet was used, also much gold and silver embroidery on cloth.

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CHERUIT'S skirts were wide and full, but whether they were circular or shirred the fullness was concentrated on the hips. Here, too, the skirts were very short, and although they measured almost two yards at the hem the material was so soft that one scarcely realized it—this despite the fact that some of them had light silk lining slips. The one-piece dresses at this house were very original. They hung like a chemise from shoulder to ankle, with a flare on each side and a loose belt low over the hips. All the one-piece dresses were fur trimmed. Wide belts of long-haired fur were seen on. many of the dresses and suits. The evening coats shown by ChSruit, while of the same general type as those shown by the other couturiers, were conspicuously collared with fur in some low flat or straight high form. Wonderful metal brocades were employed for a number of these wraps. One of the novelties shown at this house was a solid block plaid which was very effective in dark rich shades.

PREMET declared in favor of the wide skirt, circular models from two to three yards in circumference being offered. These skirts were sometimes shorter at the sides than in the back or front. One frock of gray moire had a full skirt over an underskirt boned in hoop effect at the hem. The coats at this house were fitted to the waist-line and flaring and circular below. Others were short in front, reaching to the hem of the skirt in back. Premet favored cloth, combining cloth coats with velvet skirts in some instances, also cloth coats with satin frocks. Much fur was used for trimming. Brilliant and most luxurious velvet and satin evening coats were exhibited.

PAQUIN was more prone to moderation—skirts' moderately wide and moderately short—though the full skirt measuring nearly three yards at the hem received representation. Her wide skirts were full to the waist, and were topped by pointed bodices. Long sleeves were accorded the preference, and much silver and gold lace and tulle were used. Cloth, serge and velvet were the most conspicuous fabrics, and fox, putois and skunk trimmed many of the gowns.

BERNARD'S skirts were also short, though not so short as Callot's. Many of them were shirred around the waist; box-plaited skirts were also sponsored, and some yoked skirts with shirred or plaited flounces. All the suits shown had high collars and cuffs. Most of the jackets were short, of military cut, entirely bordered with fur. At times even the armhole and the elbows were bordered. Evening gowns were frequently made of cloth of gold or silver, and metal laces and roses, and tinsel and bead trimming were used for ornamentation. Velvet evening gowns were shown in all colors, and black velvet gowns were featured for both day and evening wear. The shades favored for street costumes and suits were bordeaux, robin's egg blue, navy blue, black, and white.

MARTIAL ET ARMAND hung the wide skirt over a narrow underskirt. The latter, though rarely seen, constrained the wearer to take tiny steps and minimized the flare of the skirt in walking. At times the fullness was shirred on at the curve of the hips, at others the skirts were widened by gores. White broadcloth and sealskin were combined in some of their smartest models, and silk faille was extensively used. Huge round muffs made of the material of the coat and bordered with fur were shown.

DCEUILLET'S opening tended still further to confirm the vogue of the short, full skirt and coat with circular flare. The one-piece dresses at this house were in princesse effect. Faille and velours de laine were used for street suits, and faille and tulle trimmed with pearls and beads for evening costumes.