PARIS AND FASHION

Dominion, Volume 8, Issue 2492, 19 June 1915, Page 11

PARIS AND FASHION

NO MOURNING. The subject of mourning is much discussed in France (states the Paris correspondent of "The Times")- Should one mourn outwardly the hero, or glory in- his death, as a sacrifice offered to Heaven? The homage of tears ill befits the laurel-crown, .howover natural the grief. And, again, it has the disodivantage of discouraging others. The sombre black veils of bereaved widows and mothers depress the young soldier departing for the front. At best the oustom is somewhat pagan end often has not the excuse of near relationship. Cousins throw themselves, as if eagerly, into deep mourning for the dead. And yet, surely, his death differs from that of the civilian dying fiom illness or from accident in the street. Upon his kindred must fall something of the satisfaction of duty done, tomething of the glow of the patriot in 'a glorious end, something of the dulce et decorum est pro patria mori. Mourning evidently is not the medium of consolation, but the advertisement of woe, and, therefore, unsuitable in the present war, which battles for the higher ideal. In England, a Sovereign by her own authority can modify a custom; in France, it is not so easy. No sartorial influence radiates from the Elysee. The only "Court" is opinion and tho dressmaker. The latter obviously has her limitations —and her interests, too. Yet something could be to lighten mourning by inciting ingenuity. If attractive alternatives were presented to the purchaser, the feminine desire for nojvelty would triumph, perhaps, over the fetish of a long tradition. There is observable already some revolt from tyranny. Many a yonng woman would gladly break from imprisoning crepe were she not in awe of the family. The grandmother, the aunt, the wealthy second cousin have to be considered. Any leavening of the lump of dismal fashion might be construed into a want of-feeling and respect for the dead. "Footing" and Fashion.

Yet new influences are at work, though the casual observer may he unaware of them. The black seems to him as black as ever, the veils as long and lugubrious. But behind the sable signs are others significant of change. four able writer on feminine subjects has touched upon them; but one may be insisted upon. British influences, as well as those of the war itself, are at

work to simplify coetunA The mere fact that rich women have to walk, having'no longer their motor-car (commandeered for military service), h3o favoured a new hygiene, and dress has had ,to keep pace. "Footing," the quaint French phrase employed in the fond belief that it is English, has bcoome a necessity, and skirts must give play to limbs. ' There is a deep psychological reason why Paris must remain tlio centre of that artistic creation which is denominated fashion. The key of the mystery is courage. While the bourgeoisie lack courage to break from conventions, there is a class, youthful and ardent, and ready to risk all in the name of innovation and experiment. It is the class that led in aviation. It leads in dress-designing, and must continue to do so because it dares mtrythng. It fears not exaggeration to-day, knowing that it will be corrected to-morrow by the very faci that it excites criticism. This marks the great distinction of the Parisian temperament from any other; it is always ready, figuratively and literally, to se casser la teto for an idea. In the claim/-of America to displace Paris is something more than jealousy. There is race antagonism. It is notorious that a large part of the dressmaking industry i) the United States is in the hands of the Germans, who have patriotic reasons for their bluff. On the other hand, thoy havo' systematically pirated Paris "models," reproducing them as their own—the flattery of imitation. But Paris possesses too many elements of superiority to_ fear dethronement; artistic impulse is in the air; chio grows between the stones of the Place Vendome.