New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-09-25
Paris. Sentemher :.

Paris is still deserted as far IS the French
world is concerned. but there IS still a
sufFicient number OF visiting Americans here
TO keep the shopping district busy and COM
fortably I'll the reception rooms OF the
dressmakers Considering the DUTY that
ssonfronts a Paris made gown and the fact
that after all American women adopt
style quite unlike that Of the Parisians. II
= curious that so many Americans shc'ulo
buy gowns in Paris. Ana, aside from the
individual buyer. there seems TO be no firm
manufacturing gowns or dressmaker OF the
slightest importance who does not invest
more or less heavily in Paris models. EVen
while they are picking out these models.
commenting on them, paying for them. they
are busy pulling them TO pieces, and ex-
pressing doubts as 10 whether they will
SUR the American trade
II was rather amusing 20 find in the
uorlzrsoom of o famous Paris cOuturier an
American cutter and designer, born in New
York. amusing. too. TO find that she was q
most ardent and patriotic exponent of the
theory that the United -ates can produce
SIS own fashions and ones much better
srited 10 the tastes Of its women than those
created abroad. And Vet she was working
for comparatively no salary TO learn all she
could Of the secrets of French designing
and the famous French line" When asked
10 explain this apparent inconsistency. she
said:
Fashions are not created any more: they
are simply adapted No entirely new
fashions have been produced in France
since the downfall of royalty. When a
queens figure governed the size of skirts
or a scar on a royal cheek brought boards
tinct mode, suited to a distinct period.
This is impossible to-day, for the reason
that there are too many styles of face and
figure aid too many tastes to please So
fashions are no longer created: they are
adapted, and every source, every epoch in
history. is drawn on for this purpose. Tc-
day, for instance, modes of the First EN-
pire and the Moyen Age are equally i'm
portant, and they are both equally unsuited
for the average American woman.
The American woman doesn't stand
dressing Up as the French woman does.
She is accused of extravaganza in dress
and Of caring too much for clothes. but
in truth she doesn't spend one-tenth. 1
don't believe one-hundredth. part Of the
time on them that the French woman does.
That is one reason why she does not stand
dressing up: she doesn't practise il enough
Another reason is that the lines OF her
figure are too pronounced-she has not the
indefinite slimness of the French woman
To put Il differently, her type is too pro-
nounced. too independent, too modern, TO
suit many historical fashions. That is why
she needs her own fashions. not adaptations
of centuries back. but modes of this cen
tury suited TO her environments-the eli
mate she lives IN and the social life of the
country. To certain extent the French
dressmakers have found this out-and. by
the way, there are very few French dress
makers: most Of the famous Paris houses
have Austrians or Hebrews at their heads
to certain extent they cater to Amer
lean tastes and the American climate
But ] honestly believe that it viii not be
many years before we shall see the best
class of American women wearing gowns
and hats both designed and made up in
America, and I am here trying TO learn
how 10 do IL. We are not yet masters of
the art Of designing or Of cutting. as the
French are. Our tailored suits and our
shirtwaists are probably the best in the