Evening star., 1947-10-01
On the Fashion STAGE

But luckily the people that accept
everything are few and far be-
tween. Those who can Gull the
good ideas do so and without much
ado about nothing And above all
let us not forget that much here
in America depends on keeping the
consumer happy. Even the garment
industry recognizes that!
We've gotten sidetracked a bit.
What we did want to tell you about
are the fashions that are now
prevalent in Paris.
Paul Ghali reports from Paris
that the ballet hemline which was
born here in America Is not en-
tirely favored by French women.
The majority claim 1t Is lovely on
teen-agers but hopeless on middle
aged women. But he states that
it is here to stay. Paris
dressmakers this season are con-
tinuing to emphasize sloping shoul-
ders. wasp waists, padded hips, and
daytime skirts 9 to II inches from
the ground. The seasons pre-,
dominant color Is peacock blue. Z.
Tunic afternoon dresses are worn
over accordion or impressed pleated
skirts. Many have high collars.
Coats are voluminous. +.
Much attention is paid as in the
past to details. This season it
is accessories. Diamonds and pearls
are worn choker fashion once
again. :.
Dora Loues Miller reports that
variations in necklines are news.
Stand-up collars for day wear. t.
Colors favored by Ores are deep
greens, grays, and autumn tones.
Jacques Helm sponsors skirts
with easy-to-walk-in width with
length adjusted to the individual.
!. The House of Lanvin places
emphasis on the new silhouette, as
transposition rather than repeti-
ton of other days. A silhouette
that is merely taking advantage Of
flattering feminine lines at the
waist, hips and bust. =.
Judy Barden wires from Paris that
Christian Dior, the Partisan de-
signer who hit the fashion horizon
like comet and has continued to
blaze-cIaims that his clothes are
simple and can be worn easily.
They, she says, are anything but
simple and can be only worn by tall
women with beanstalk figures. . :.
Also Miss Barden maintains that
Jacques Faith is running close
second to Dior in everything but
variability. He favors tight-fitting,
narrow-shouldered bodices with
tight slanting skirts swathed and
bound around the hips. So tight
from the knees down that the models
could do no more than mince along.
/. -. Gunmetal colored stockings
worn with his clothes. His evening
clothes caused sensation. . :.
Full skirts, colorful materials,
strapless evening gowns g.. &.
jewel encrustations on the gowns
+. and a deep purple satin evening
coat with one foot of opossum fur
around the hemline and bell sleeves.
Pierre Balmain showed two
silhouettes for day wear. The bell
and the whistle" The bell has a
full hemline and is without hip
padding -. the whistle is more for
coats than frocks. 1t is wide at the
shoulders and narrows in straight
line to the hem. Nothing at all like
the barrel. Jackets are nipped in at
the waist. :. . His collection lived up
to his announcement that 1t was
based on the principles of simplicity
and elegance.
In Paris there is no one-accepted
skirt length. Prices are fabu-
lousy high. =. There is much en-
phasis on the "derriere" In clothes.
In many, many, many instances
there Is continued use of shoulder
padding. . .. The use Of capelets is
also very evident. Millinery
trends evidenced with the collections
are the beret, the Venetian bonnets,
one-side hats that perch atop hair
that has been swept up -. the use
of suede for hats and evening
headdresses of velvet and paradise
feathers.
Paris continues to score in fine
workmanship. The clothes designed
for the French woman are what she
has demanded since time i'm
ACKNOWLEDGEMENTS.