DOVER BOOKS ON FASHION

HATS: A HISTORY OF FASHION IN HEADWEAR, Hilda Amphlett. (0-486-42746-3)

BRITISH COSTUME FROM EARLIEST TIMES TO 1820, Mrs. Charles H. Ashdown. (0-486-41813-8)

VICTORIAN FASHIONS AND COSTUMES FROM HARPER’S BAZAR, 1867-1898, Stella Blum. (0-486-22990-4)

EVERYDAY FASHIONS OF THE TWENTIES AS PICTURED IN SEARS AND OTHER CATALOGS, Edited by Stella Blum. (0-486-24134-3)

EVERYDAY FASHIONS OF THE THIRTIES As PICTURED IN SEARS CATALOGS, Edited by Stella Blum. (0-486-25108-X)

A PICTORIAL HISTORY OF COSTUME FROM ANCIENT TIMES TO THE NINETEENTH CENTURY: WITH OVER 1900 ILLUSTRATED COSTUMES, INCLUDING 1000 IN FULL COLOR, Wolfgang Bruhn and Max Tilke. (0-486-43542-3)

THE HISTORY OF UNDERCLOTHES, C. Willett Cunnington and Phillis Cunnington. (0-486-27124-2)

AMERICAN VICTORIAN COSTUME IN EARLY PHOTOGRAPHS, Priscilla Harris Dalrymple. (0-486-26533-1)

WOMEN’S HATS, HEADDRESSES AND HAIRSTYLES: WITH 453 ILLUSTRATIONS, MEDIEVAL, TO MODERN, Georgine de Courtais. (0-486-44850-9)

WOMEN’S COSTUME OF THE ANCIENT WORLD: 700 FULL-COLOR ILLUSTRATIONS, Paul Louis de Giafferri. (0-486-44527-5)

HISTORIC COSTUMES AND HOW TO MAKE THEM, Mary Fernald and E. Shenton. (0-486-44906-8)

TURN-OF-THE-CENTURY FASHION PATTERNS AND TAILORING TECHNIQUES, S. S. Gordon. (0-486-41241-5)

WHAT PEOPLE WORE: 1,800 ILLUSTRATIONS FROM ANCIENT TIMES TO THE EARLY TWENTIETH CENTURY, Douglas Gorsline. (0-486-28162-0)

AUTHENTIC VICTORIAN FASHION PATTERNS: A COMPLETE LADY’S WARDROBE, Edited by Kristina Harris. (0-486-40721-7)

AUTHENTIC VICTORIAN DRESSMAKING TECHNIQUES, Edited by Kristina Harris. (0-486-40485-4)

VICTORIAN FASHION IN AMERICA: 264 VINTAGE PHOTOGRAPHS, Edited by Kristina Harris. (0-486-41814-6)

MEDIEVAL COSTUME AND HOW TO RECREATE IT, Dorothy Hartley. (0-486-42985-7)

THE “KEYSTONE” JACKET AND DRESS CUTTER: AN 1895 GUIDE TO WOMEN’S TAILORING, Chas. Hecklinger. Preface by Kristina Seleshanko. (0-486-45105-4)

MEDIEVAL AND RENAISSANCE FASHION: 90 FULL-COLOR PLATES, Raphael Jacquemin. (0-486-45776-1)

PICTORIAL ENCYCLOPEDIA OF HISTORIC COSTUME: 1200 FULL-COLOR FIGURES, Albert Kretschmer and Karl Rohrbach. (0-486-46142-4)

COSTUME DESIGN IN THE MOVIES: AN ILLUSTRATED GUIDE TO THE WORK OF 157 GREAT DESIGNERS, Elizabeth Leese. (0-486-26548-X)

ACCESSORIES OF DRESS: AN ILLUSTRATED ENCYCLOPEDIA, Katherine Lester and Bess Viola Oerke. (0-486-43378-1)

THE CORSET AND THE CRINOLINE: AN ILLUSTRATED HISTORY, W. B. Lord. (0-486-46186-6)

JAPANESE KIMONO DESIGNS, Shôjirô Nomura and Tsutomu Ema. (0-486-44426-0)

VICTORIAN AND EDWARDIAN FASHIONS FROM “LA MODE ILLUSTRÉE”, JoAnne Olian. (0-486-29711-X)

EVERYDAY FASHIONS OF THE SIXTIES As PICTURED IN SEARS CATALOGS, Edited by JoAnne Olian. (0-486-40120-0)

EVERYDAY FASHIONS OF THE FORTIES As PICTURED IN SEARS CATALOGS, Edited by JoAnne Olian. (0-486-26918-3)

EVERYDAY FASHIONS OF THE FIFTIES As PICTURED IN SEARS CATALOGS, Edited by Joanne Olian. (0-486-42219-4)

EVERYDAY FASHIONS, 1909-1920, As PICTURED IN SEARS CATALOGS, Edited by JoAnne Olian. (0-486-28628-2)

CHILDREN’S FASHIONS 1900-1950 As PICTURED IN SEARS CATALOGS, Edited by JoAnne Olian. (0-486-42325-5)

FULL-COLOR SOURCEBOOK OF FRENCH FASHION: 15TH TO 19TH CENTURIES, Pauquet Frères. (0-486-42838-9)

A DICTIONARY OF COSTUME AND FASHION: HISTORIC AND MODERN, Mary Brooks Picken. (0-486-40294-0)

AN ILLUSTRATED DICTIONARY OF HISTORIC COSTUME, James Robinson Planché. (0-486-42323-9)

60 CIVIL WAR-ERA FASHION PATTERNS, Kristina Seleshanko. (0-486-46176-9)

THE MODE IN HATS AND HEADDRESS: A HISTORICAL SURVEY WITH 198 PLATES, R. Turner Wilcox. (0-486-46762-7)

See every Dover book in print at www.doverpublications.com

Copyright © 1990 by Dover Publications, Inc.

All rights reserved.

Authentic French Fashions of the Twenties: 413 Costume Designs from “L’Art et la Mode” is a new work, first published by Dover Publications, Inc., in 1990.

DOVER ‘Pictorial Archive SERIES

This book belongs to the Dover Pictorial Archive Series. You may use the designs and illustrations for graphics and crafts applications, free and without special permission, provided that you include no more than ten in the same publication or project. (For permission for additional use, please write to Dover Publications, Inc., 31 East 2nd Street, Mineola, N.Y. 11501).

However, republication or reproduction of any illustration by any other graphic service whether it be in a book or in any other design resource is strictly prohibited.

Library of Congress Cataloging-in-Publication Delta

Authentic French fashions of the twenties: 413 costume designs from “L’art et la mode” / edited by JoAnne Olian.

p. cm.—(Dover pictorial archive series)

9780486139067

1. Costume—France—History—20th century. 2. Art et la mode. I. Olian, JoAnne. II. Series.

GT880.A87 1990
391’.00944’09042—dc20

89-71440
CIP

Manufactured in the United States by Courier Corporation
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INTRODUCTION

The glossy fashion magazines of today trace their origins to the costume books of the sixteenth century, when voyages of exploration and discovery created an avid curiosity about the constantly widening world. So popular was the subject that these books were published all over Europe, but principally in Venice and Germany. The first such volume appeared in 1562 in Paris. Unlike modern publications, these books did not predict fashion, but depicted foreign dress and described the customs and manners of both the Old and the New World.

In the second half of the seventeenth century the focus shifted to France, where Jean-Baptiste Colbert, finance minister of Louis XIV, determined to build a strong economy, and, cognizant of the national predilection for fashion and luxury, based one aspect of this ambitious program on the manufacture of French textiles, instituting steep protective tariffs, prohibiting the wearing of foreign silks and establishing over 100 factories under crown patronage. The results of these measures were strikingly evident at the palace of Versailles, the showcase of the Sun King.

Court fashions appeared in Le Mercure Galant, but it was not until the last quarter of the eighteenth century, in response to the insatiable contemporary demand for novelty, that Galerie des Modes initiated new styles fresh from the dressmakers. Published from 1778 to 1787, it depicted the mercurial fashions of a society so obsessed with style and change that Abigail Adams, in a letter from Paris, wrote, “To be out of fashion is more criminal than to be seen in a state of nature—to which the Parisians are not averse.”

In the nineteenth century, fashion periodicals, embraced by a growing middle class, proliferated rapidly. From 1840 to 1870 over 100 new magazines appeared in England, Germany and America as well as France. Adhering to a more or less uniform format, they covered social events, published new works of fiction and poetry, offered ideas for needlework projects and provided both color plates and black-and-white engravings of the latest fashions, which were invariably French.

The virtually simultaneous appearance on the fashion scene of Charles Frederick Worth and the Empress Eugénie assured permanent supremacy for French fashion. By her endorsement of Worth in the late 1850s, Eugénie was indirectly responsible for the creation of the haute-couture industry. Emperor Napoleon III, in the tradition of Louis XIV, limited the wearing of a gown at court to a single occasion, keeping mills and seamstresses busy producing a stream of novelties for a nouveau-riche society to wear to the palace of the Tuileries. As principal dressmaker to the glittering court of the Second Empire, Worth was responsible for the extravagant, hoop-skirted opulence of the Empress, who, by imperial command, dressed exclusively in Lyons silks. From 1867, when Harper’s Bazar began publication, Worth became a household name in America, as he already was in France, through the fashion communiques from Paris-based correspondent Emmeline Raymond. Success enabled Worth to transform the time-honored craft of the humble dressmaker, who merely executed gowns to a client’s taste, into a major industry. At the House of Worth 1400 employees translated each new collection into custom-made gowns for its wealthy and titled international clientele. In the late nineteenth century, American importers were making seasonal buying trips to Paris on behalf of their customers. By 1924 exports of women’s clothing worldwide amounted to 500 million francs.

The format established by Worth remains the method practiced by the French couture. Each year a house presents two collections of original models by its designer, which are shown on live mannequins at openings attended by the press, private clients and buyers for specialty shops abroad. Samples and models chosen by clients are custom made individually in the firm’s atelier. This system was employed by designers such as Callot Sœurs, Cheruit, Doucet, Martial & Armand, Molyneux, Patou, Poiret and others whose designs appeared frequently in L’Art et la Mode to launch their collections at shows for a select invited audience. Magazines such as L’Art et la Mode were read avidly not only by the rich who patronized the couture, but also by the woman who relied on her “little dressmaker” to copy the styles depicted in the periodicals. This practice was widespread in Europe, where a woman who aspired to be well-dressed eschewed ready-made apparel until the 1950s, when prêt-à-porter became an accepted alternative to custom-made clothing.

In the 1920s, fashion magazines remained the principal source for news of the latest Paris gowns; Vogue and Hamper’s Bazaar continued to devote most of their fashion coverage to the French couture. L’Art et la Mode, sold on both sides of the Atlantic, provided bilingual captions as well as English synopses of its columnists’ contributions. Enjoying remarkable longevity (1880 to 1967), it had the distinction of publishing the first halftone illustration ever printed in a fashion magazine. Appearing every Saturday, it managed to find sufficient style news to fill every issue. Twice a year the new collections were published, and two millinery issues also appeared annually. Garb worn at social events by well-known Parisiennes was described in detail, plays were discussed and opinions on manners, mores and fads were proffered by “Frivoline,” while “Magda” covered style news. The fashion drawings are of several categories: dressmakers’ advertisements, stage wardrobes (a favorite way for couturiers to expose their creations to the public), garments invented by L’Art et la Mode’s illustrators and the latest fashions credited to a designer or available in pattern form, portrayed in settings of the chic events and watering places frequented by the haut monde.

The fashionable Parisienne, following an undeviating annual schedule that resembled nothing so much as a royal progress, attended the Bal des Petits Lits Blancs (a children’s benefit), went to the races at Auteuil and Longchamp and was seen at the opening of the Ballets Russes in June just before leaving for Deauville, “the smartest summer resort in Europe” according to Vogue, which enumerated its attributes including “above all gowns and gowns and gowns.” September found tout Paris in Biarritz, then back to town after the hunting season for fashion shows, fittings, galas at the Cercle Interallié, subscription performances at the Opéra, theater and the Bal de la Couture sponsored by the Chambre Syndicale for the benefit of needy sewing workers, ending with Réveillon (Christmas Eve) suppers before beginning the annual round on the Cote d‘Azur or St. Moritz.

L’Art et la Mode captures the glamour that was Paris in the twenties. Its pages evoke Art Deco, Sunday evening at the Ritz, the Casino de Paris, jazz at the Bœuf sur le Toit, the legendary Josephine Baker at the Folies-Bergère and Paul Poiret stepping off the Train Bleu at Cannes, where golf was de rigueur until 5 P.M. and the Casino the in spot until 5 A.M.

The streamlining of life dictated the streamlining of line, the hallmark of the decade. The contemporary aesthetic was manifested in the seemingly paradoxical union of utter simplicity of form with unlimited luxury of materials. Equally true in art, architecture, the decorative arts and fashion, this visual philosophy was epitomized in the Exposition Internationale des Arts Décoratifs et Industriels Modernes held in Paris in 1925 on the banks of the Seine, where the Pavillon de l’Elégance occupied a central position among the buildings of the fair.

Reverberations of this paring down were felt far beyond art and fashion. As the cocoon of layers of cloth was discarded, years were shed and restrictions carried over from the nineteenth century were rejected. Youth emerged from this chrysalis to find nothing too daring, too dangerous or too unusual as long as it was new. The boyish figure, actually more like that of a soignée adolescent, was the visual manifestation of this attitude. The adaptation of men’s fashions for women enjoyed considerable popularity. Gabrielle Chanel wore a man’s sweater on the Riviera, creating a new fashion. In 1925, L’Art et la Mode wrote, “In all the new collections an important place is reserved for the ‘masculine’ type of tailored suit. The coat is cut on the lines of a man’s overcoat.” Some women even had their clothing made by men’s tailors, and in chic circles it was considered amusing for a couple to appear together in “le smoking,” masculine evening wear (p. 108). The fashion for the “tailleur strict,” or man-tailored suit, emphasized the sharp demarcation between day and evening garb, and was embraced by the new woman who smoked in public, painted her lips and nails red and knew how to wield a cocktail shaker.

Above all, the twenties were young. The statuesque woman gave way to the asexual, lithe girl. The mysterious swathing and exotic draperies of prewar garments whose natural habitat was night, were suddenly passé. The splendor of Poiret looked old-fashioned next to the sportive look of Chanel and Patou, seen in its element out-of-doors.

Perhaps the most significant influence on fashion in the twenties was the growing popularity of sports among women. When Suzanne Lenglen appeared at Wimbledon in 1921 in a sleeveless sweater, a short pleated skirt by Patou and a yellow bandeau on her hair, she was the harbinger of a revolution. Even if one’s most strenuous exercise was walking to the car, Patou’s sportive look was rapidly pervading fashion. During the 1924 Olympics, L’Art et la Mode published an entire issue devoted solely to élégances sportives. While Chanel appealed to the rich woman who wanted to look understated and modern, Jean Patou, whose clientele was young and international, was considered by Poiret to be the greater threat. Asserting that the new woman appeared to be made of cardboard, Poiret expressed fear for the future of the couture. His voice was distinctly a minority one, as smart society flocked to the new Mediterranean resorts of St. Raphael and Menton, where they passed the time on the beach in pyjamas or bathing suits, acquiring a newly chic suntan as they anointed themselves with Patou’s “Huile de Chaldée.”

The automobile was the technological symbol of the twenties. To women, who had learned to drive ambulances and tractors during World War I, it represented the extension of their new-found freedom and status. By 1921 couturiers were even making a specialty of motoring apparel. This new mobility simplified the move from resort to resort, as Parisians motored down to Deauville, only 120 miles away, for the weekend, causing L’Art et la Mode to remark that Paris was fast becoming a town where “smart society women pass a few days in between seasons.”

Equal in importance to sports and the automobile to an understanding of the radical change occurring in fashion, was the 1922 novel, La Garçonne, by Victor Margueritte, which caused such a scandal that its author was stripped of his Legion of Honor. The heroine, a student at the Sorbonne, embodied the movement toward sexual equality. Disillusioned by the hypocrisy of society, she broke with her parents and fiance, cut her hair, wore men’s clothing, became a successful businesswoman, smoked opium and had many love affairs, including a lesbian relationship. La Garçonne was the model for a generation that found its physical expression in flattened breasts and hips, short hair and short skirts that allowed freedom of movement without the anachronistic encumbrances of extraneous layers of cloth or restrictive corsets.

The style we think of as twenties did not emerge fully formed with the advent of the decade. The years 1920 through 1927 were marked by enormous changes, from the windblown naïveté of the early twenties to the androgynous, shingle-coiffed sophisticate of 1927. Stylistic changes can be clearly seen in the attitudes delineated in fashion illustrations. While the early figures seem at the mercy of each passing breeze, the later ones convey an air of assurance and ease. In much the same way, clothing exemplifies the change from fussy ruffles to controlled and defined pleats.

The sharp contrast between the fashions of 1920 and 1927 did not develop in an ordered sequence. Fashion emerged after World War I in a state of confusion. Some designers looked backward for inspiration, while others, sensitive to the changes in women’s lives and requirements, searched for a new vocabulary, resulting in a cacophony of eclecticism that did not fuse into a harmonious style until almost the mid-twenties.

In 1920 hemlines were at mid-calf, and waistlines were normal. Skirts began to drop in 1921, dipping almost to the ankles by 1922, followed by the waistline, which settled on the hips. This attenuated silhouette was emphasized by vertical pleats and embroidered panels. The winter collections of 1923 marked the beginning of a slowly rising hemline that paused below the calf in fall 1924, a season also characterized by an increasing simplicity, accentuated by tailored belts with buckles. The trend toward shorter skirts continued until 1927 when they reached unprecedented heights—actually only to just below the knee in the most extreme cases. Some couturiers raised hems only to mid-calf and many dresses were longer in back or on the sides, a portent of longer skirts to come. Matching coat and dress ensembles were very fashionable. Skirts were flared, pleated and full of motion. The waistline was almost back to normal and bloused effects or draped panels created a new softness foreshadowing the clinging bias cut of the 1930s.

As clothing evolved, millinery and hairstyles followed. The wide skirts of the immediate postwar years were balanced by large hats that rested on long hair pulled back into a bun or knot. By 1922 the long, narrow silhouette demanded smaller brims requiring less hair, which, by 1924, was generally bobbed. As the cloche hat became smaller and deeper, the shingled coiffure, so much a part of the garçonne look, became a necessity. Even chic little girls had their hair cut in this fashion (p. 125).

While the dominant trend was the tailored look, minor chords were also sounded, seemingly in all the collections at the same time. A perennial favorite of many couturiers was the robe de style, a full-skirted dress with stiffened panniers in the manner of the eighteenth century or the crinoline of Eugénie. A Second Empire ball held in Paris in 1922 and an exhibition the following September in Biarritz helped to account for the continuing popularity of this romantic style. While the excesses of Poiret were démodé for daytime, the opulence of the East remained the inspiration for much of the evening fashion. Lames and lavishly beaded metallic brocades were the guise under which the Orient flourished.

Simplification of cut gave rise to surface ornamentation in the form of fringe, beading or embroidery. Ethnic influences of all kinds were fashionable, especially the Romanian embroidered blouses so popular with women and their daughters. “Russian” collars and, most important, “Spanish” shawls were seen frequently in L’Art et la Mode, while the discovery of Tutankhamen’s tomb in 1922 inspired the couture in new realms of exotica (p. 57).

F. Scott Fitzgerald remarked that “Part of the enchantment of Paris in the Twenties was that everything that happened there seemed to have something to do with art.” The influence of Cubism on fashion is undeniable, both in the style of illustration and the clothes themselves. Flattened, impossibly elongated figures attest to Cubist influence as well as that of Marie Laurencin and Modigliani. The asymmetry, geometrically precise pleats and tubular forms of dresses and figures relate directly to painting.

Art and couture enjoyed a close relationship throughout this period. Poiret’s sister, Nicole Groult, on intimate terms with the renowned painters of the day, was said by Picasso to capture the spirit of modern art in dress. Groult was a close friend of Laurencin, with whom she shared a palette of grayed pastels, emphasized by strokes of black. Poiret, whose wit and theatricality were natural attributes for the stage, designed numerous ballets and revues, notably Vogue in 1921, in which actors were artfully costumed as chess pieces, dominoes and Venetian glass. Chanel designed costumes inspired by Attic pottery for Cocteau’s 1921 production of Antigone, for which Picasso painted sets and masks. If a single dramatic event could be said to encompass the aesthetic mood of the twenties, it might well be Le Train Bleu, which had its premiere at the Ballets Russes in 1924 during the Olympic games in Paris. It was set on the Riviera, and dancers costumed by Chanel portrayed bathers and golf champions, while the role of tennis star Suzanne Lenglen was danced by the ballet’s choreographer, Bronislava Nijinska.

Textile design was intimately related to painting. Raoul Dufy designed silks and shawls for Bianchini (p. 58) and Sonia Delaunay created both Cubist clothing and fabrics, which were clearly the inspiration for many of the patterned materials of the decade.

Textiles with unusual names appear throughout L‘Art et la Mode. They were short-lived novelty fabrics or names given by different mills to their version of a familiar material. The most popular cloth of the day was “Kasha,” a fine, very soft twill flannel of vicuña or cashmere, developed by Rodier. Equally desirable were silk crepes of all weights, including crepe de chine, crêpe marocain and crepe romain. A flowery essay in L’Art et la Mode, defining history through textiles, selected Kasha and crepe as the quintessential fabrics of the twenties. Also fashionable were serge (often navy blue), Poiret twill, Duvetine (a coating fabric with a velvety nap) and jersey knitted of silk or wool. Printed silk foulards, voile and organdy were summer favorites. Linen did not make a postwar appearance until 1923 (perhaps, Vogue speculated, it had been needed in airplanes, and a flax crop takes seven years to reach maturity). With the exception of evening wear, the rich jewel colors of a decade earlier were replaced by black, white and Chanel’s beloved beige.

Evening fabrics, often shot with metallic threads, were chiffon, sinuous silk velvets, lace and satin. Silver, seen in Poiret’s chain-mail tunic (p. 42), was preferred to gold in lame, embroidery and brocades. Platinum in combination with onyx or crystal, and pearls were much admired for jewelry and accessories. The fur coat was the height of fashion. Sable, mink, chinchilla and ermine were the ultimate luxury, but mole and red fox-trimmed leopard were considered high style. Fur trims, used lavishly, were monkey, squirrel, broadtail and skunk.

Leather, popular for outer wear, particularly for sport-coats and raincoats, also trimmed many tailored ensembles. An important innovation, seen on a leather raincoat of 1926 (p. 121), is the zipper shown here as a pocket closing.

Each couture house was known for its signature which attracted a particular type of client. Chanel and Patou appealed to the young moderns, in contrast to Worth, which specialized in wedding dresses and dignified elegance for the Old Guard. The robe de style was the forte of Jeanne Lanvin, who had made children’s dresses before turning her hand to haute couture. Poiret toured the United States with a troupe’ of mannequins to show his dramatic evening clothes. Master of the grand gesture, he had three barges as his salon at the Art Deco exposition, while the Collectivité de la Couture was content to occupy the nearby Pavilion de l’Elégance. Madeleine Vionnet’s “deceptively simple little things” were cut on the bias with such extraordinary skill that would-be imitators discovered they were “complex enough if one tried to copy them.” Lucile and Boué Sœurs specialized in pastel taffetas iced with lace and rosettes of ribbon.

One of a new breed was Georges et Janin, which opened in 1923 and typified the smaller house making less-expensive gowns that still managed to bear the hallmark of the Parisian couture. Unique to Paris were maisons de couture devoted exclusively to children’s clothes. Fairyland (p. 132) was one of three that operated in the same manner as the grand dressmaking establishments: Collections were presented every season at openings attended by a discriminating clientele of mothers and daughters from North and South America as well as France. L’Art et la Mode reflects a time when haute couture for children was as much a social statement as jeans and running shoes are in today’s world.

Like all fashion magazines, L’Art et la Mode made a profound statement whose deceptively frivolous appearance belies its significance as cultural history. That line drawings of beaded dresses at Biarritz have been superseded by fashion photographs shot on location in corners of the world so remote they would have appeared only in National Geographic in the twenties only exemplifies the French adage, “The more things change, the more they remain the same,” for, in a totally updated format, today’s fashion magazine mirrors society no less accurately than the fashion magazine of the past reflected its world.

“Fashion . . . dies the minute it is born.”—Gabrielle Chanel

JoAnne Olian
New York City
December 23, 1988

NOTE: Many of the captions in L’Art et la Mode appeared in French and English, in some instances the English being a condensed adaptation of the French. Jo Anne Olian has corrected and expanded English captions where necessary, and has replaced the original French headings with new translations.

THE ENSEMBLES WORN BY MADEMOISELLE CÉCILE SOREL
(REVIVAL OF PRlNCE D’AUREC AT THE COMÉDIE-FRANÇAISE).
CREATIONS BY LUCILE

MORNING FANCIES

AT THE POLO CLUB

CHILDREN’S FASHIONS
Drawing by G. CHIGOT.

SIMPLE DRESSES

THE SEASON AT BIARRITZ

CREATIONS FROM PAQUIN
3, Rue de la Paix

CREATIONS FROM POIRET

LES GRANDES ÉLÉGANCES

The outfits of Mademoiselle JEANNE PROVOST
in Les Ailes Brisées [The Broken Wings] at the Vaudeville

BATIK SCARVES FROM THE HOUSE OF BIANCHINI, FÉRIER.

CREATIONS BY WORTH

GOLFING AT ST. CLOUD

Creations from the House of NICOLE GROULT
29, rue d’Anjou.

WE’RE WEARING SUITS MORE THAN EVER

FOR GOING TO THE RACES AT DISTANT TRACKS

AT THE OPERA BALL (June 25)

SATURDAY DINNERS AT THE CERCLE INTERALLIÉ ARE FASHION CONTESTS

The Outfits worn by Mlle. SYBIL FLORIAN
in Le Bonheur à 5 sous [Happiness for 5 Cents] at the Comédie-Montaigne.

CREATIONS BY TOLLMANN
35, Rue de Miromesnil, 35

THE OUTFITS OF MLLE. SUZY DANTÈS
in Un Ange Passa [An Angel Passed], at the Potinière.

CREATIONS BY JEAN PATOU, 7, Rue Saint-Florentin.

SPORTS

Look how flying is attracting women! In fact, fashionable women no longer hesitate to receive “baptism by air.” It has become the fashion, the rage! Consequently, a special costume—practical, warm and elegant—has become imperative. What do you think of these two? Without a doubt they will conquer all the fashionable skies. . . Deauville, Trouville, etc.

CREATIONS BY MARGAINE-LACROIX
19, Boulevard Haussmann

SERGE, VELVET OR VOILE?

THE REOPENING OF THE HUNTING SEASON

IT’S RAINING, IT’S RAINING, MADAME! ...

THE PARADE OF SILKS IN THE REVUE AT THE CASINO DE PARIS IS OF A RARE SUMPTUOUSNESS. THESE COSTUMES, EXECUTED AFTER SKETCHES BY ZINOVIEV, ARE MADE UP IN THE BEAUTIFUL FABRICS OF F. DUCHARNE, OF LYONS.

The Outfits Worn in Si que je s’rais roi? [So I’m King?] at the Capucines.
CREATIONS BY POIRET

THREE DRESSES I WOULD LIKE FOR PAYING VISITS

THREE GOWNS THAT WOULD PLEASE ME FOR GOING OUT IN THE EVENING

NEW FABRICS WILL BLOOM IN THE NEW SEASON
These are from RODIER

WAISTLINES ARE LESS AND LESS DEFINED

THE LATEST CREATIONS FROM FAUCON,
38, Avenue de l’Opéra

IN THE REVIVAL OF LE MARQUIS DE PRIOLA AT THE FRANCAIS, MLLE. CÉCILE SOREL WEARS THESE TWO SUMPTUOUS OUTFITS SIGNED BY

MOLYNEUX

SOME PRETTY CREATIONS FROM ELINA
16, Rue Roquépine, 16

SOME CAPES

PREMET AND CHANEL at the Chantilly Derby

MADELEINE AND MADELEINE, JEANNE LANVIN, at the Chantilly Derby

TWO POIRET GOWNS SEEN AT DEAUVILLE

EVERY FRIDAY AT THE GRAND VATEL, THE MOST ELEGANT SPOT IN PARIS FOR TAKING TEA, CHARMING MANNEQUINS SHOW THE CREATIONS OF THE STARS OF COUTURE.

HERE ARE THOSE FROM LUCIEN LELONG

AT THE DEAUVILLE SPORTING CLUB

OR DO YOU PREFER SNOW?

Mademoiselle Cécile Sorel has left for America. There she will represent French art and good taste with these costumes from DOUCET.

A SUBSCRIPTION NIGHT AT THE OPERA

AT THE BAL DE LA COUTURE
(December 8)

SOME GOWNS SEEN ON CHRISTMAS EVE
(Creations by Molyneux and Jean Patou)

A FEW PRETTY HEADDRESSES NOTED AT THE BAL DES PETITS LITS BLANCS

CHEZ LUCILE
11. Rue de Penthièvre

WINTER ISN’T OVER

TAILORED ENSEMBLE AND DRESSES OF FOULARD

SOME PRETTY CREATIONS from MARIA-MAGDALENA
10, Rue du Commandant-Marchand

CHEZ CAUËT
6. Rue de la Paix, 6

THE SHAWLS OF RAOUL DUFY AND ROBERT BONFILS
PRODUCED BY
BIANCHINI, FÉRIER.

To our great regret, we are unable to convey in these drawings the richness and variety of colour of these ravishing shawls.

A PARTY AT THE CHÂTEAU

AT THE DEAUVILLE SPORTING CLUB
(DAVIS CUP)

ON THE TRAIN BLEU

AT THE THEATRE ANTOINE THE OUTFITS OF Mlle. GABY MORLAY CREATIONS BY JEAN PATOU

THE TOILETTES OF Mlle. YVONNE DE BRAY IN THE TRIUMPHANT REVIVAL OF LA FEMME NUE [THE NUDE WOMAN] AT THE VAUDEVILLE ARE CREATIONS OF DRECOLL
136, Avenue des Champs-Elysées.

Created by WORTH

FOR THE INTIMACY OF THE HOME CREATIONS FROM DOUCET

FOR THE HUNT

ARE YOU GOING TO CHAMONIX FOR THE OLYMPICS?

COATS FOR MILDER DAYS

SUITS

A FEW OUTFITS SKETCHED ONE SUNDAY EVENING AT THE RITZ.

FOR STAYING HOME

AN EVENING GOWN BY
PAUL POIRET

THE GOWN OF OSTRICH FEATHERS

We are Pleased to publish a study that our contributor A. Soulié has made of the pretty Mme. L––, who consented to pose in her gown trimmed with ostrich feathers.

CHEZ
LUCIE HAMAR

THESE CREATIONS FROM TISSUS D’ART

SPORTIVES
CRÉATION DE LA SOCIÉTÉ BLANCHE LEBOUVIER
MARIE-LOUISE, Directrice
3, Rue Boudreau

SIMPLE BUT CHIC THESE CREATIONS FROM
DOBB’S
66, Avenue Victor-Hugo

FOR THE LAST FINE DAYS

FOR THE LAST RAYS OF SUNLIGHT

AT THE DEPARTURE OF THE TRAIN BLEU
DEAUVILLE EXPRESS

MERRY AUTOMOBILE JAUNTS

TWO AFTERNOON DRESSES FROM
CARLY
7. Rue des Capucines

AT LE MARIAGE DE FREDAINE, AT THE THÉÂTRE DE L’ÉTOILE, WE SKETCHED THESE
CREATIONS BY LUCIEN LELONG
16, Rue Matignon

WINTER SPORTS COSTUMES BY BUSVINE
48, Rue Pierre Charron

LE SPORT ON THE CÔTE D’AZUR

CHEZ MARIA GUY

IDEA OF THE WEEK: EVENING HEADDRESSES

AT A GALA DINNER AT THE AMBASSADEURS IN CANNES
CREATIONS FROM MOLYNEUX

Mlle. DARTY, IN UNE FEMME [A WOMAN] AT THE THEATRE FEMINA, WEARS THESE OUTFITS BY CALLOT

CUBISM HAS INSPIRED THESE NEW FABRICS CREATIONS BY GODAU, GUILLAUME

THE OUTFITS OF Mlle. S. DULAC IN LE MARIAGE DE MAMAN [MAMA’S WEDDING] AT THE THÉÂTRE ANTOINE
CREATIONS BY JEAN PATOU

TENNIS REMAINS THE FAVOURITE SPORT OF WOMEN

ON THE LINKS’ GREEN CARPET

AUX ARTS DÉCORATIFS

AT “LA COLLECTIVITÉ DE LA COUTURE”
MODELS FROM PAQUIN

AUX ARTS DÉCORATIFS

AT THE “COLLECTIVITÉ DE LA COUTURE”
MODEL FROM MADELEINE VIONNET

OUTFITS WORN BY Mlle. MAGUY VARNA IN BOUCHE À BOUCHE [MOUTH TO MOUTH] AT THE APOLLO
CREATIONS BY JEANNE LANVIN

SEEN AT THE RACES AT LE TOUQUET, TWO DRESSES BY CYBER
4, Place de l’Opéra

A DAY’S HUNTING IN SCOTLAND OUTFITS FOR DAY AND EVENING

CREATIONS BY REVILLE
(DRESSMAKER TO HER MAJESTY QUEEN MARY OF ENGLAND)

CHEZ CARLY

FOR AUTUMN, TWO OVERCOATS FROM DOBB’S
66, Avenue Victor-Hugo

MADEMOISELLE SPINELLY, IN UN DÉJEUNER DE SOLEIL [LUNCHEON IN THE SUN] AT THE COMÉDlE CAUMARTIN, WEARS THESE TWO GOWNS BY
LOUISEBOULANGER
3, Rue de Berri.

FOR EVENING, THIS CREATION FROM
CYBER 4, Place de l’Opéra, 4.

At the party given on June 16 at the Exposition des Arts Décoratifs, the combs in the “Caprice Espagnol” number, all suppled by Auguste Bonaz, were much admired. These combs can also be seen at the Grand Palais, divisions 9 and 20.

THE COMBS OF AUGUSTE BONAZ

THE OUTFITS OF Mlle. LUCIENNE DE LAHAYE IN LA REVUE MISTlNGUETT AT THE MOULIN ROUGE
CREATIONS BY JEANNE LANVIN

THE OUTFITS WORN IN PARIS EN FLEURS [PARIS DECKED IN FLOWERS] AT THE CASINO DE PARIS

LES SMOKINGS

THE VOGUE FOR HORSEBACK RIDING

A LA REINE D’ANGLETERRE
24-9, Rue Saint-Honoré

FROM THE NEW COLLECTION OF
NICOLE GROULT
29 Rue d’Anjou.

A SHOWING OF SPANISH SHAWLS AT
THE MANSION OF MADAME B . . .

BEACH ROBES

CHEZ
DOBB’S
66, Avenue Victor-Hugo

MADELEINE VIONNET

CHEZ GERMAINE
24, Rue Pasquier, 24.

LEATHER CAR COATS

THESE COATS ARE INDISPENSABLE FOR RAINY DAYS
CREATIONS BY
LÉDA
5, Rue Drouot

CHRISTMAS EVE

THE FASHIONS IN CHILDREN’S HATS

CHILDREN’S FASHIONS

AN EXPRESSION OF STYLE AT “POLO DE BAGATELLE”

CAMILLE ROGER

TAILORED SUITS

FAIRYLAND

CHEZ
GEORGES ET JANIN
25, Rue La Boëtie.

THE HUNTING SEASON OPENS SOON

FOR WINTER SPORTS

THE MEDITERRANEAN CRUISE