Paris Collections Give Prominence To Fabrics

Press, Volume CIII, Issue 30332, 7 January 1964, Page 2

Paris Collections Give Prominence To Fabrics

(N.Z.P.A.-Reuter)

PARIS.

The scope and novelty of fabrics on the Paris winter fashion scene has not been equalled since the occupation years of World War 11, when French designers made dresses of upholstery fabrics and- trimmed hats with wood shavings. Twenty years ago, Paris couturiers had no alternative. They had to use what they could get.

Today, the same mood returns, but this time purely for fun. Every type of exotic fabric and fur and every species of feather and leather are now available for the creative designer to utilise as he sees fit.

The net result is that offbeat materials and fabulous fabrics take precedence over silhouette. When Paris designers start using precious furs and feathers as casually as fabric, however, the cost of a model is apt to soar. The all-fur suit or dress is as common in every leading couture collection as fabulous feathered embroideries.

Lanvin launches the pinnacle of all novelties with mosaic-pattern coats made entirely of turkey feathers and Lned with mink. Guy Laroche shows entire dresses made of ponyskin or calfskin. Zabaleta, the new Spanish couturier. makes a fetish of antelope suits. Other designers show "the sports look” in mink and ermine middy blouses, jerkins, and sweaters.

Dior has evening gowns with bodices composed of overlaid swan feathers. Both Dior and Zabaleta show bridal gowns trimmed with swansdown. Capucci makes formal jackets of braided ostrich feathers. Ricci shows

mousseline hostess gowns with voluminous pyjama legs fluttering with overlays of uncurled ostrich plumes. Even the great Chanel occasionally ignores her classic braid trimmings to lavish ostrich feathers on coat collars, matched with feathered toques. Many formal fabrics, such as brocade, damask, and cloque silk, imitate the natural patterns of fur or leather. Reptile and crocodile skin markings appear on evening dresses as well as raincoats.

Other novelties include blistered silk suits suggesting caracul fur or treebark. A dominant trend is seen in imitation patent leather raincoats, or long opera coats made of shiny nylon cite. Capucci and Gres demonstrate a veritable hero-wor-ship for leather. The young Italian designer shows a three-quarter length coat made of cobra skin. He uses brightly coloured lizard skin for waistcoats and matching domed, cloche hats. Gres favours suede printed with the markings of leopard skin. Classic textiles appear in new guises. Mohair coatings are as thick as blankets—and as light and fluffy as feathers. Texture and surface relief of these new fabrics usually take priority over silhouette interest. Tweeds come in open-work designs, with the lacy effect of handlooming. The newest are honeycomb and tapestry weaves. The fabric scene for the coming winter contrasts men’s suitings and fabrics for day wear with the most feminine laces and cut velvets on transparent mousseline grounds for late day wear. A directly opposite trend is the constant use of rustic woollen fabrics for formal evening gowns, and of lavish silks, velvets, and brocades for the "sports look.” Traditional patterns of men's fabrics emerge in hard finish woollens featuring chevrons, herringbones, and every type of check. Crow and "chicken foot checks tend to reduce in size. They have recently been renamed '"Swallows feet” in French.

Gabardine and twill likewise emphasise the trend towards smooth finish with features which often reappear in silk.

Yves St. Laurent is giving a big boost to corduroy and flannel. Peirre Cardin uses flannel with highly unorthodox effect in a dark grey flannel jumper which has irregular sized round holes cut out all over it, producing the effect of a piece of Swiss gruyere cheese. This jumper is worn over a slim fitting orange sheath in jersey, with long sleeves. Many fashion houses have evolved St. Laurent’s original idea of tailored silhouettes featured in formal fabrics. St. Laurent shows full length jumpers and chemise dresses in velvets and satin, worn beneath sweeping coats of rustic tweed or mohair. Marc Bohan of Dior has completely relinquished his masculine approach after dark in favour of the most feminine fluttering lace dresses. There are ruches, ruffles, and butterfly wings on Chantilly lace gowns, or the curious contrast of lace collars and cuffs on cosy tweed hostess dresses.