PARIS FASHIONS FOR WINTER

Press, Volume LXXXVIII, Issue 26824, 1 September 1952, Page 2

PARIS FASHIONS FOR WINTER

HEMLINES LOWER (By a Reuter Correspondent) PARIS. Biggest fashion news from Paris for the autumn and winter of 1952 is that hemlines are down, anywhere from two to four inches, averaging about 12 inches from the floor for day wear, and 10 inches for afternoon. ,

In the over-all silhouette picture, the season’s big word is “souplesse,” achieved by a combination of soft, easy-to-drape fabrics and a rounded easy-to-wear silhouette. Wool jersey is the most popular fabric,, the ideal media for these soft interpretations. The two-piece—or two-piece effect—dress is the star, seen in the popular middy blouse or 1920 style. This low hip interest is important also in the one-piece dress with the two-piece look. Drapes, broken effects, fabric contrast or the point of departure of skirt fullness focus attention on lower hiplines. The natural waistline is marked, nipped or fitted, except in the middy blouse dress. The waist may be marked by wide-shaped belts or cummerbunds. At Maggy Rotfff, leather belts slip down to the hip line, woven in and out of folds of the skirt.

While this is not a revolutionary silhouette, it is being pushed extensively and qualified as the season’s leading trend. Jacques Fath goes allout for the casaque dress, while every other house features its own adaptation of this idea. The top of the silhouette also comes in for its share of attention with new neckline treatments. The severity of high covered up or turtle necks is counter-balanced fey soft draping or cowled fullness across the bosom. Shirring and yokes offer more variety. Asymetry is popular in certain houses. Jean Patou twines his collars round the neck in a one-sided snail effect. Jean Desses favours the fluid draped necklines, always treated to some kind of folds, cuffs or cowls. Separate collars in fur or matching fabric dis* guise high, collarless necklines. Summing up the suit picture the “semifitteds” and the “demi-fitteds” are right on top. Balenciaga stars them both. The suit which is loose, but has the natural waistline indicated though never actually secured, and the slim fitted front, loose-back suits from last sea-

son. Fof,' Women who prefer more conservative styling the semi-classic soft but tailored suit takes on a-longer basque. New* plastron effects, set above the basque, form the closing on fitted jackets at both Dior and Givenchy. , Coats In coats again, we find the demi- and the semi-fitted versions, or still newer, the coat which is completely straight and tubular to the knees J and then flares out in bias folds. Lanvin calls it the “clarinet coat,” while Jean Desses has named this line "the chalice. The loose swagger, tent, or box coat continues for sport and travel, but slims down’ without excessive back fullness. It is starred in, many of the seasons loud steamer rug and horse blanket plaids. Redingotes are also featured in heavy bulky coatings, which are folded under a belt, but not tapered in through the waistline. Shoulders are sharply sloped on coats, often lending a pyramid line with high stand-up collars. This rounded shoulder is still padded, but always affects the droppea or raglan style. Sleeves throughout the collections are without interest. After past seasons of “chicken leg” and elaborate balloon and draped effects, sleeves have momentarily retired fronrthe spotlight They are loose and straight cut in coats, often three-quarters or* seveneighths length, with or without a narrow turn-back cuff Dress sleeves are long and skin tight shirred or pushed uo the arm. Sometimes they are cut slightly fuller on top of the arm. but they always achieve the casual note of pushed-up sweater sleeves

Back interest is one of the leading trends on dresses, often combined with the casaque look” or low hip interest. Skirt fullness shm in front and gored or pleated at the back lends this effect, as well as looped bustles, nert peplums drapes or buttoned backs. P P '