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These modes, or adaptations of them, were seen last week in the salons of the 200 French dressmakers who pretend to Haute Couture. But of these 200, not more than 15 or 20 had originated new and startling designs. It was possible, therefore, for Parisians to discuss, eliminate, select the real titans of post-War fashions. And Parisians chose, not without acrid debate and violent disagreement, the Big Six of the dressmaking industry.
Worth. Traditionally important is the House of Worth. Founder Charles Frederick Worth came to Paris from London in the middle of the last century, found himself the man of the hour in the attempt of the Empress Eugénie to restore the magnificence of the First Empire. Eugénie became the patron of the young Englishman. To his shop in the Rue de la Paix came not only Eugénie herself but Charlotte of Mexico, Maria Pia of Portugal, Elizabeth of Austria. Only two reverses came to Founder Worth. Victoria of England would have none of him. And Eugénie, expecting the Prince Imperial, declined to swathe herself in Persian robes, decided to set the style in maternity gowns with the crinoline. Founder Worth battled, but to no avail. The crinoline flourished.
Son Jean Philippe Worth succeeded his father in 1895, carried on the aristocratic traditions of the House. He still comes to the Rue de la Paix to serve the most exalted personages, but his two nephews, Jacques and Jean Charles, have active control of the business, the one as business manager, the other as head designer. The House of Worth remains the arbiter of the most elegant fashions. There go the women of upper French society for their robes de grande soirée. There goes the prospective bride for her wedding gown.
Chanel. The fame of Gabrielle ("Coco") Chanel has waxed since the War. Sweaters have made her name and her fortune, the light, boyish sweaters which form the sports costume of many an American and English woman. The story of Gabrielle is shrouded in mystery. Some say she is of Basque origin, the daughter of a peasant. Others declare her youth was spent in Marseilles, where the jerseys of sailors gave her the idea for the emancipated woman's golfing costume. Even today she is something of an enigma to gossip-loving Paris. "Coco" Chanel is not beautiful, yet her name is linked with that of Prince Dimitri, Parisian man of the world, famed connoisseur of beautiful women.
Vionnet. Dressmakers concede to Madeleine Vionnet mastery of the art of fitting. She never uses linings in her gowns. Unexpected darts and seams, giving perfect lines to a dress, are the despair of copyists and imitators. In her salon of Lalique glass, with heroic figures of women in Vionnet models decorating the walls, mannequins display her triumphs of cutting and sewing. But before a gown leaves her shop, she marks it with her fingerprint, a safeguard against imitation.