Evening star., 1932-10-16
PARIS. October 8.

PARIS, October 8.
- HERUIT was once among the
grandest names in the Paris
dressmaking world, and the
~ name of this house was synony-
NOUS with smartneSs. 1t was
perhaps best known for its ultra-grand
afternoon gowns in time when this
was the garment on which all, or nearly
all, attention was focused. Nine. Louise
Boulanger worked closely with Nine.
Cheruit herself in designing models, as
sisted by Nine. Wormser.
Later, when Nine. Cheruit passed
away, Louise Boulanger opened her es-
tablishment in the Rue de Berri, bear
ing her own name, while Nine. Wormser
assumed the direction of the maison de
couture in which they had worked to-
gether for SO many years. Located in
one of the oldest palaces of the Place
Vendome, its wide windows look out on
the high lights of Partisan life at its
crossways. The walls are richly gllded
in the manner Of several centuries ago,
when they were inhabited by noblemen.
One-piece woolen dresses are featured
here. and while there are several in
two pieces, nearly all are actually one
piece although many are made to give
the impression of two pieces. Waist
lines well defined by belts, carefully
studied necklines hugging the throat,
basquettes on the sides and restricted
fullness are some of the characteristics
of the new Cheruit collection.
TUST above the waistline this cou-
y turiere has made the corsage ex-
tremely adjusted, and this is especially
true of the more dressy gowns, with
their waists closely clinging, to produce
youthful appearance. Bias cuts ap-
pear and reappear. Sleeves are re-
markable for their diversity and elabo-
ration. These are straight and narrow
below. whereas above they are supple,
roomy and draped. The draped belt,
marking the waistline, is cut In one
piece with the skirt and forms Knot,
replacing buckles and other outside
ornaments and devices.
Ensembles are composed of velours
Anglais (velveteen coat over dress
of marocain crepe or woolen. Three
quarter tailleurs are dressy. One Is in
black velours mousseline. Its jacket
and tops of its sleeves are set of by
fiat flounces, placed one on top Of the
other in a pelerine effect over a narrow
tunique of gold lame printed green and
red.
The evening coats vary in richness
and also in the amount, of fur used,
some being without fur, some using fur
lavishly, and with all the transitional
types in between All of these have
wide sleeves to the elbow or all the
way down. Wide armholes, incrusted
in the back, are characteristic, and
dresses and coats have been designed
with view to being worn together. so
that for any dress you try on there is
the all-appfopriate coat, created, one
might believe, to go especially with 1t.
Much bias work and numerous effects
achieved through panneaux are other
interesting notes.
Diagonal woolens abound here-soft,
supple woolens Dull printed velvets
also triumph, while crepe marocain is
enjoying another heydey, followed by
much crepe de chine, mousseline velvet,
lightweight fancy woolens for dresses
and jaquettes; cotton velvet, velveteen,
velours Anglais. Homespun woolens for
coats, moire, angelskin lace and cire
tulle are other materials used in this
collection, and other fabrics are ba.
gheera velvet, lame, including lacquered
lame: crepe satin, Of which both sides
are employed: dull artificial velvet;