ECONOMIC EOLE OF FASHION CLERGET. 757 



popularity is such that it has become a regular habit to visit his 

 establishment, and as Pierre Mille^ says, "he knows how to make 

 the worldly minded dress and how to prattle," as shown by Gervex's 

 painting "chez Paqum a cinq heures." The modiste seeks out the 

 designs, fits the forms, harmonizes the lines and styles. Each estab- 

 lishment decides upon a model and then selection is made from public 

 opinion expressed at the great gatherings at Auteuil and Longchamp. 

 Each modiste has a representative there and in broad daylight they 

 make comparisons, listen to criticisms, make p.fter- touches, and the 

 " complete results of the races " told in the Paris evening papers 

 omit the most striking act of the day: Fashion was born and a 

 humble seamstress may have had the chance to invent it.^ 



The fashion created, there is haste to make it known, to launch it. 

 Under the monarchical regimes and under the first and second em- 

 pires, the court fulfilled that duty and gave fashion some distinction. 

 It is only since the first Eepublic, or particularly since the third Re- 

 public, that the prevailing style has been anything more than the 

 reflection of the will of the sovereign whose ideas and customs had 

 the force of law. Under the first empire, Josephine abhored a stiff 

 style of garment; she preferred the low-neck gown with high waist 

 and flexible skirt; her hair arranged with the bandeau. Roman art 

 then ruled, brought about by Josephine. Empress Eugenie had like 

 influence under the second empire, and to her we owe the taste for 

 a comfortable stjde, and stuffed, silk-covered furniture.^ 



To-day the style is made public by mannequins at the race course, 

 on the street, at the theater, by actors on the stage, and by such 

 social functions as a Avedding or a ball. The fashion at the theater 

 seems to be playing an increasing role. Fashionable modistes have 

 recently announced their intention of having their mannequins re- 

 placed by actresses, who on the stage, by their grace, their elegance, 

 their beauty, their prestige, would tend to a more ready acceptance 

 of fashion's extravagant innovations. Madame Jane Hading, in the 

 play of L'Attentat, introduced the dress known as the " aile de 

 cabeau " or winged pannier. And Madame Martha Brandes created 

 the style of sleeves since known by her name. "\^nien La Walkyrie 

 was first presented at the opera, white wings like those attached to 

 Brunehilde's helmet were worn on hats, and the armor of the warlike 

 maiden gave to dressmakers the idea of spangled robes, much resem- 

 bling the breastplate. The use of pheasant plmnage became more 



1 Pierre Mille : Une des industries intellectuelles de Paris, la grand couture. Revue 

 ^conomique Internationale, May, 1912. 



2 Bulletin des Soles et des So-Ieries, Nov. 10, 1900. 



' E. Mazille : Comment se cv6e la mode dans I'industrie de la soierie. Bulletin 

 trimestriel de 1' Association des anciens 61Sves de I'Ecole sup^rieure de Commerce de 

 Lyon, March, 1908. 



