Jeanne Hallée: Parisian Couture, Ocean Travel Elegance & Global Influences (1909–1920s)

Evening Gown and Dinner Dress by Jeanne Hallée. (l) Evening Gown in Black Velvet Draped With Silver Lame. Train and Bodice Embroidered in Many-Colored Butterflies. (r&c) Black Velvet Dinner Dress. Belt and Straps of Pearl and Steel Embroidery. Garment Manufacturers' Index, October 1920, p. 35. GGA Image ID # 1a3ac310cb

✨ Review & Summary – Jeanne Hallée

🎀 Introduction & Relevance to Ocean Travel & Fashion

The House of Jeanne Hallée, guided in its later years by Madame Suzanne and rooted in Paris’s couture tradition, bridges the worlds of classic refinement and modern experimentation. Her creations embraced velvet, satin, duvetyn, and serge, often paired with intricate embroidery, beadwork, or dramatic draping.

For teachers & students: Hallée’s work demonstrates the way Parisian couture reflected both tradition and international influences—from Renaissance-inspired robes to Egyptian motifs of the 1920s.

For genealogists & historians: Hallée’s dresses appeared in publications from Harper’s Bazarto Vanity Fair, highlighting how couture shaped not only society wardrobes but also the attire of women seen on ocean liners traveling to fashionable destinations like Deauville or New York.

For ocean travel researchers: Her tailored suits, luxurious wraps, and elegant gowns would have been staples of first-class wardrobes, offering practical elegance for transatlantic voyages.

Coat dresses, a winter wardrobe staple, are taking a new form this season with artful draping of contrasting materials, adding a touch of intrigue to evening gowns.

The old firm of Jeanne Hallée, now under the ownership of M. Kamp and directed by his wife, Madame Suzanne, is a testament to the power of perseverance. Madame Suzanne has transformed the much-restored establishment into a great success.

Madame Suzanne, with her extensive experience at Worth and collaboration with the renowned Francis, crafts and designs all the models herself. This unique approach, coupled with her exceptional talent, positions Jeanne Hallée among the top fashion houses.

At Jeanne Hallée, the bulk of the young, alert-looking tailored suits are crafted from velours de laine and duvetyn in blues and browns. These materials and colors, known for their versatility and timeless appeal, are a testament to the brand's commitment to classic yet contemporary fashion.

Charming Coat-suit From the House of Jeanne Hallée. The Material Is of "Rouille" Satin (A Dark Wood Color) Embroidered in Jet With Jet Buttons. The Underdress Is of "Mystérieuse" Voile Over Silk. Heliotrope Hat From the House of Georgette. Silk Magazine, February 1909, p. 90. | GGA Image ID # 1caa380ee3

A gorgeous dark blue model, reminiscent of eighteenth-century uniforms, is braided across the front in black with suspicion of gold. A blue coat is worn with a skirt crossed and lined in raised red stripes.

A long snuff duvetyn is trimmed by beautiful ribbons pleated and used as a braid. Coats are not shapeless here: the extra fullness is gathered towards the waist in front in flat pleats or shirring.

A black velvet afternoon wrap strikes a new note with its oversized sleeves and side gores of satin. Although we have both coats and capes amply represented, a hybrid occurs in an old-blue coat that sports two short capes edged with ragondin (a superior beaver).

Silk fringe simulating fur helps to build up a striking ensemble. It forms the collar of a very short tête de nègre cape, which accompanies a beige charmeuse dress cut into detached panels, each edged by eighteen inches of fringe.

Coat dresses, which will be a part of our winter wardrobe as gloves or an umbrella, are well represented.

On a Long Waisted Bodice of Lemon-colored Taffeta and Over a Petticoat of Pink Mousseline de Soie and Malines Shirr a Full Skirt of the Taffeta and You Will Have This Lovely Tea Gown Designed by Jeanne Hallée. Quaint Flowers Catch up the Sleeves and the Bodice Buttons Primly Down the Front. Harper's Bazar, February 1916, p. 72. | GGA Image ID # 1caed43c28

Jeanne Hallée Makes a Quaint Dress of Soft Pink Taffeta, Which Has Three Bounces of Pink Tulle Elaborately Embroidered With Chenille. A Wide Puffing of the Taffeta Finishes the Skirt. The Pointed Bodice Is Stiffly Boned the Tiny Sleeves Are of the Pink Tulle. Harper's Bazar, February 1916, p. 72. | GGA Image ID # 1caef53e2f

Apart from the usual straight lines and high collars, they open in front almost to the waist in a long, narrow slit, much embroidered on each side.

A model I liked very much uses the ever-favored Parisian combination of color. The dress is blue serge, the girdle of red leather thongs woven together; the sides of the dress are worked in checkered red leather, and the collar is lined in red.

The sleeves are most interesting; apart from bell shapes, wide cuffs, etc., they can be pointed or the stuff slashed from elbow to wrist and gathered into a cuff.

Charmeuse, velvet, and crêpe in very soft colors compose most "dressy" frocks. I must remember to include a brocade and silver cloth. "Crêpe crocodile" is new stuff. It is consistent, soft, and glossy, slightly crinkled to suggest alligator remotely. It is exquisite in white or black-spotted with sizeable black velvet pastilles.

A charming afternoon costume is a dress of black taffeta. The bodice is crossed, and the skirt is stitched to the top in points. Deep triangular inserts of black velvet repeat around the hem.

A shortish black velvet cape goes with it. A clever little black satin "chemise" is embroidered down the front in white beads, and a white ostrich flue is caught with each bead.

These dresses give a slim, straight line barely broken by a tunic, or a portion of one, lined in a contrasting color like this creation of black crêpe crocodile, the square apron at the back lined in soft green and tied with a green sash.

Negre velvet is at its best with a low girdle of turquoise in front; the back of the bodice is loose and loops over the belt; steel bead straps hang from the shoulders to the hem at the back.

A mole velvet dinner dress with a pointed décolleté has sleeves that may be mysteriously detached. Now, we come to gowns with no sleeves; the collection of evening dresses is outstanding.

The novel idea is that of black velvet, which forms the back of the frock and bi-forks on the ground into two square trains. The front is a panel of white satin striped horizontally in gold.

This idea is repeated several times: black velvet draped over white satin, silver lamé, and velvet, the first much embroidered with many-colored butterflies.

All this necessitates much draping—materials in sharp contrast demand careful handling, which they certainly get here.

The dress is embroidered with big jet flowers. Madame Suzanne drapes red brocade with a master's hand. I secretly prefer a square-necked maize satin with vast points covering the sides and meeting in front under a jet ornament.

A delightful jeune fille gives a different note: a lace fichu over the palest pink chiffon is completed by lace points on the skirt and a girdle of flowers.
Among the evening wraps, I noticed a coat embroidered in blue and yellow Chinese lettering; it has a sable collar and cuffs ending in dangling tails.

Jeanne Hallée displays exceedingly chic models for the chasse, which consists of a plain turquoise blue Duvetyn skirt and a tartan checked brown, orange, and blue cloth sack coat. Bead embroideries, bead fringes, and paillettes will have a record season this autumn and winter.

One noticed wonderfully beautiful beaded trimmings among the many stunning toilettes (dresses) worn at the Deauville Casino. Dazzling beads to match the dress's color, strings of beads composing deep fringe effects, and full robes of the beaded net were among the most sensational toilettes worn at the Casino de Deauville during the Grande Quinzaine.

Toilette de Course (Dress) Worn at Deauville by Jeanne Hallée. The Skirt Formed a Draped Tunic Over Pleats, Composed of White Duvetyne, the New Autumn Material. A Long Pleated Basque Coat Was of Blue Duvetyne Having Black Moiré Revers. The Gilet or Waistcoat Was of Flowered White Moiré Having a Narrow Zibeline Fur Collar. The Ceinture Was of Black Moiré Draped Towards One Side in a Rosette, and Long Sash Ends. Vanity Fair, October 1913, p. 11. | GGA Image ID # 1caa3ca70c

Costume de Demi Saison Worn at Deauville by Jeanne Hallée. It Was Composed of a Boise de Rose Moiré Souple Tunic Draped Skirt and a Short Basque Coat of the Same Color Velours Souple. The Velvet Hat in a Darker Tone of Boise de Rose Was Garnished With a Mass of Aigrettes. The Wide Draped Cowl Collar of Moiré Was Finished With a Standing Collar of Sable. Vanity Fair, October 1913, p. 11. | GGA Image ID # 1caa9f73c9

An Attractive Race Gown Made by Jeanne Hallée. It Was Made With a Hip Pocket Draped Skirt of Dark Green Duveteen and a Three-quarter Coat of Dark Green Stewart Scotch Tartan. The Coat Has Wide Hip Pockets Opened in Front Over an Old Blue and Dull Gold Embroidered Gilet or Waistcoat Crossed at the Waist by Black Moire Ribbon. A Green Dyed Fox Skin Adorned the Shoulders, Toned in a Harmonizing Shade To Match the Costume, Producing an Exceptionally Chic Ensemble. Vanity Fair, November 1913, p. 13. | GGA Image ID # 1cab45bf49

A Chic Toilette Sketched by a New Model Chez Jeanne Hallée. It Was Composed of a Rouge Grisaille Duvetyn Coat, and a Similarly Toned Tartan Checked Skirt. The Coat of Plain Duvetyn Formed a Full Tunic-shaped en Forme Having a Hip Sash and Ends in Self-colored Moire Souple Silk. The Collar of White Suede Cloth Rolled Back From a Stand-up Sable Collar and White Cross-over Waistcoat. The Tartan Checked Lain Age Skirt Was Cut Up on One Side and Opened Over the Foot. Vanity Fair, November 1913, p. 13. | GGA Image ID # 1cab53c8c2

Jeanne Hallée Combines Ruby Duvetyn With Black Moire. She Adds a Richness Hitherto Unfamiliar in the Tailored Costume, in the Shape of a Waistcoat of Ivory, Panne Velvet Patterned With Roses of Futurist Design in Shades of Purple and Ruby. In Total Disregard to the Customs of Tailored Suits, the Skirt Drapes Itself in Folds About the Feet. Vanity Fair, December 1913, p. 64. | GGA Image ID # 1cab81574c

Jeanne Hallée created a striking Summer afternoon frock in black and green polka-dotted crepe de chine trimmed with wide bands of plain black silk.

A four-inch band extends straight across the figure from shoulder to shoulder and down each side of the bodice to the waistline. This band also outlines the looped drapery at each side hip and extends thence to the hem of the overskirt, which reaches within three inches of the hem of the narrow dropped skirt.

This jumper dress is held softly to the figure by a broad draped girdle of bright emerald green charmeuse. The square comers of the bib-like front of the bodice are caught together on the shoulder with huge, square, green buttons. The short, flaring elbow-length sleeve is outlined with a turn-back cuff of black silk, while the bishop-shaped under-sleeve is of bright green silk.

Several new evening gowns feature an almost fitted, elongated bodice. In one extraordinary model by Jeanne Hallée, shown by B. Altman & Co., a long bodice extends entirely to the hips. The skirt, wonderfully embroidered with huge sequins and bead motifs, is softly plaited.

This bodice is fashioned almost precisely upon the Moyen Age lines. However, it does not fit quite as closely as expected of an actual Moyen Age bodice.

The neck is cut out in a profound Y-shaped outline at the front and is filled with horizontally draped tulle extending straight across the front. A fashionable bead embroidery bow is added at the lower edge of the Y-shaped bodice.

The back of the bodice is also cut in a V, which extends entirely to the girdle. This extraordinarily low-cut opening is somewhat filled in with horizontally draped tulle.

Long, flowing tulle sleeves draped over the bodice on each side of the front and back, looping low at the upper arm, which is left uncovered, gracefully feature this gown.

These tulle draperies are full, floating, and longer than the gown itself, so they trail upon the floor at each side of the figure. I no train, as is usually the case this season, is cut separately from the skirt itself and is, in this instance, set on at the regular waistline at the back.

It is caught under a gracefully draped effect about fifteen inches below the waistline, where it gradually separates almost to the lower edge and then points in a graceful outline. Like the lower part of the skirt, this train is fashioned of heavy Gros de Londres, ornamented with bead and sequin embroidery motifs.

Coat Dress by Jeanne Hallée, Developed in Navy Blue Serge. Black Satin Collar With Green Satin Lapels. Black Braided Bottoms Embroidered in Green. Side Bands of Raised Black Embroidery. Dry Goods Economist, 4 September 1909, p. 23. | GGA Image ID # 1cac5952ff

Jeanne Hallée Again Utilizes the Egyptian Influence in This Gown and, This Time Is Decidedly Marked. In One Straight Piece, Violet Velours Are Drawn in Folds Over the Hips and Across the Back to an Ornamental Clasp Placed at a Relatively Low Waist-line in Front. Each Side of This Clasp Swings Long Violet Silk Tassels That Emphasize the Egyptian Idea. Neckline and Shoulder Straps Are in Spirit With the Egyptian Feeling. Harper's Bazar, October 1922, p. 53. | GGA Image ID # 1cacf43474

Dress Designed by Jeanne Hallée of Red Kasha Serge Embroidered in Silver Soutache Braid That Shows Beneath the Removable Skirt of Jeanne Hallée's Black Cloth Tailleur. Harper's Bazar, October 1922, p. 69. | GGA Image ID # 217ed3093c

New Three-piece Costumes by Jeanne Hallée Are Like Most French Episodes--at the Beginning, One Never Knows What the Ending Will Be. (L) Paris Delights in Two-tone Combinations for Its New Autumn Tailleurs. Without a Qualm, a Green Velours de Laine Jacket Is Set at Large With a Black Velours de Laine Skirt, Trimmed With Chinchilla. The Bodice Worn Beneath the Jacket Is of Emerald Mouseline. (R) A Fur-trimmed Jacket and Black Cloth Tunic May Open Over a Red Kasha Serge Frock. Harper's Bazar, October 1922, p. 69. | GGA Image ID # 1cad508225

Colorful Jacket, Skirt, and Bodice by Jeanne Hallée. When a Difference of Color Arises Between the Jacket and Skirt, the Bodice Usually Sides With the Jacket. Harper's Bazar, October 1922, p. 69. | GGA Image ID # 1cad96325d

The Maison de Jeanne Hallée, under the direction of Miss Anna and Madame Berthe, formerly Chez Worth, shows an attractive collection of wearable frocks.

In this collection are many three-piece costumes composed of a straight jacket, close-fitting at the hips—where it is usually banded with fur—over a narrow-skirted one-piece frock girdled at the normal waistline.

Thus, with the jacket, this frock presents a hip waistline, while without the jacket, the silhouette is quite different. The normal waistline is accentuated by the fact that the corsage above the girdle is often quite different in color and texture from the skirt.

A black velours de laine skirt is topped with emerald green crepe Georgette and green embroidery, while the jacket is of emerald green duvetyn, edged at the hips with a band of gray fur.

Similar in style is a three-piece costume of greenish gray velours de Smyrna colclé, with a greenish yellow Georgette crépe blouse under the wool velvet straps.

A green velours de laine jacket, with a badger-edged dog collar of green leather and a narrow green leather belt, fringed on each edge with badger, is odd.

A true Russian blouse of copper-red velvet cotelé is very stylish. It is collared and trimmed with kolinsky. The skirt is narrow, and the knee-length jacket is bloused over a narrow leather belt of the same color, with the left side opening edged with fur.

Very new and fashionable is a Jeanne Hallée model of dark blue serge in the form of a Persian tunic over a narrow serge underskirt. The tunic is beltless and very slender. From under square gold clasps, set with amethysts and placed on the right hip, the tunic flares in a sharp godet, which is the result of an inset gore.

With its long, close-fitting sleeves, this tunic is embroidered closely all over with a narrow gold and blue soutache braid. In contrast, the narrow underskirt is plain blue serge. A green satin frock is girdled with a green snake coiled twice around the figure, with the head resting on the right hip.

A black velvet jacket with a loose, straight back is banded across the front only with a thick chain of gold. A short blue serge jacket falls over a fringed scarf girdle of red silk knotted about the hips.

A bright red velours de Laine frock is belted with a narrow fabric fold below a stylish little bolero jacket, embroidered with a narrow silver soutache braid.

Robes of En Garde, During the Renaissance by Jeanne Hallée. (l-r) Mlle Andrée Morgane, Photo by Félix. Mlle Lutzi, Photo by Waléry. Mlle Cécile Guyon, Photo by Félix. Comœdia Illustré, Vol 4., No. 13, 1 April 1912, p. 502. | GGA Image ID # 1cad9aaf66

Mlle Alice Nory in Performances at the Femina Theater, Dressed by Margaine-Lacroix and Jeanne Hallée with a Very Refined Taste. Photo by Reutlinger. Comœdia Illustré, Vol 4., No. 13, 1 April 1912, p. 526. | GGA Image ID # 1cadf7c775

Black Silk Muslin Dress and Multicolored Chinese "Tissu," Model by the House of Jeanne Hallée. Blanco y Negro: Revista Ilustrada, 16 September 1923. | GGA Image ID # 1cae3c69bf

Jeanne Hallée Uses Green-grey Velours de Smyrne in a Pinafore-like Dress Worn Over a Blouse of Green-grey Mousseline Shot With Yellow That Has Quaint Cuffs of the Heavier Fabric. Good Housekeeping, October 1922, p. 58. | GGA Image ID # 1cae653692

The Dress Is Almost Classic That Jeanne Hallée Makes of Dark Blue Reps With Gleaming Touches of Brilliant Green Marocain, a Gold Ribbon Girdle, and a Gold Buckle. Good Housekeeping, December 1922, p. 74. | GGA Image ID # 1cae998ff7

Novelty French Pantalon. The French Model in Divided Skirt Effect, Showing Yoke to Which is Set the Pleated Fulness of the Pantalon; Trimmings of St. Gall Embroidery, Edging and Beading, Pink Satin Ribbons, and Narrow Vallaces—Made by Jeanne Hallée, Paris. Dry Goods Economist, 10 July 1909. | GGA Image ID # 1cae9e64e5

A Simple Afternoon Gown by Jeanne Hallée. Photo by Félix. The Pall Mall Magazine, August 1912, p. 328. | GGA Image ID # 1cafd9106f

Jeanne Hallée Has Combined the Plain and Figured Silks in a Genuinely Novel Manner, Using the Plain Material for the Skirt and the Raglan Sleeves of the Waist. A Touch of Fur -- A Mere Soupçon -- Will Be Worn Straight Through the Summer, and Following This Mandate, a Cravat of Ermine Finishes the Neck. Top Photo by Talbot, Bottom Left Photo by Trans-Atlantic Photograph Company. Good Housekeeping, May 1914, p. 699. | GGA Image ID # 1cb063d240

The Flowered silks may be adapted as trimming for a silk dress. One of the most effective methods is to use them in the tunic. The skirt is of plain silk, draped to form two ruffles across the front, the peplum of the tunic appearing at the sides and in the back. The blouse is very vague in outline and is draped to display a tiny lace yoke.

Margaine LaCroix has revived the bustle, unlike the bunched-up panniers of the ceremonious 1830 period. The old-timey atmosphere is preserved by developing the drapery in floral silk and mounting it over black Chantilly lace ruffles. The square neck is filled with lace and a wired collar of the lace curls over the silk collar.

One of Those Evening Gowns From Jeanne Hallée of Which We Could Not Say "It Is Undoubtedly of This Season," or "It Comes From Such and Such a House," for It Lacks Any Feature That Would Mark It as of a Definite Time and Place. Yet, We Do Not Feel This as a Stigma, for the Loveliness of Its Sunlight-yellow Taffeta, Suffused Through Delicate Net Lace, Utterly Disarms Us. About the Bottom of the Skirt Runs a Band of the Taffeta With Those Unreal Flowers in Vivid Blues, Purples, Yellows, and Greens That Appear Ubiquitously This Year; A Similar Bouquet, Fastened at the Corsage, Holds the Ends of Two Long Streamers of Black Velvet, Which Flow Downward, Caught Once at the Edge of the Second Ruffle by a Rose, and Again at the Waistline in Back by Another. Silver Lace Peeps Below the Sleeves. Vogue, 15 April 1913, p. 56. | GGA Image ID # 1cb0b0ca8d

🌟 Most Engaging Content

1. Evening Gown with Butterfly Embroidery (1920) – A black velvet and silver lamé gown with multicolored butterflies embroidered across bodice and train is among the most imaginative creations, symbolizing freedom and movement.

2. Racecourse Ensembles (1913 Vanity Fair) – Hallée’s racing gowns from Deauville captured the marriage of couture and leisure travel, with tartans, sable collars, and moiré details that brought couture into the public sphere.

3. Egyptian Influence (1922 Harper’s Bazar) – Violet velours and tasseled details demonstrated how global archaeological discoveries (like Tutankhamun’s tomb) influenced Parisian couture.

4. Tailored Suits (1921 Garment Manufacturers’ Index) – Daywear with fur trim and clever use of contrasting panels offered elite women both comfort and status during travel.

🖼️ Noteworthy Images

Evening Gown with Butterflies (1920) – Black velvet draped in silver lamé with butterfly embroidery.

Coat-suit of Rouille Satin (1909) – Embroidered in jet, with a voile underdress and heliotrope hat.

Tea Gown in Lemon Taffeta (1916) – Sweet pastel layers with floral accents.

Race Gowns (1913 Deauville) – Striking combinations of tartan, moiré, and fur—highly evocative of elite leisure travel.

Egyptian-Influenced Gown (1922) – Violet velours with tasseled sash, symbolizing global fashion currents.

Three-Piece Costumes (1922) – Emerald duvetyn jackets with Georgette blouses, showing the versatility expected by travelers.

📖 Brief Dictionary of Terms

Velours de laine – Wool velvet, soft and warm, used in tailored suits.

Duvetyn – Sueded wool fabric with a soft nap, often used for coats and dresses.

Moiré – Watered silk or satin with a rippled, wave-like appearance.

Ragondin – A type of beaver fur, prized for trim.

Fichu – Light triangular scarf worn over shoulders or chest.

Pastilles – Decorative fabric dots or appliqués, often in velvet.

Souple – Flexible or supple material, typically silk or velvet.

Paillettes – Sequins used for sparkling embroidery.

⚓ Relevance to Ocean Travel

Jeanne Hallée’s designs reflect the dual needs of the ocean-going elite:

Daywear: Tailored suits, velvet wraps, and coat-dresses offered warmth and sophistication during deck walks.

Eveningwear: Embroidered gowns and draped chiffon reflected the glamour of shipboard balls and gala dinners.

Travel-ready innovation: Three-piece costumes, detachable sleeves, and reversible wraps reveal how couture adapted to the demands of mobility and climate changes across ports.

🎓 Educational Encouragement

Students writing essays can use Jeanne Hallée as a case study of fashion as cultural exchange:

• How couture reflected global discoveries (Egyptian motifs).
• How couture intersected with leisure travel and class identity (race gowns at Deauville).
• How technical fabrics and embellishments shaped the traveler’s wardrobe.

Encourage essays titled:

• “Butterflies on Velvet: Symbolism and Status in Jeanne Hallée’s Eveningwear.”
• “Dressing for the Deck: Couture Adaptations for Ocean Travel, 1900–1925.”
• “From Deauville to the Atlantic: Leisure Travel and Fashionable Identity.”

Bibliography

"A Charming Model by Jeanne Hallée," in The American Cloak and Suit Review, New York: John M. O'Connor & Co., Publishers, Vol. XIII, No. 4, April 1917, p. 156.

"Jeanne Hallée -- Paris Forecast of Autumn Fashions," in Vanity Fair, October & November 1913.

"Jeanne Hallée" in the Garment Manufacturers' Index, New York: The Allen-Nugent Co. Publishers, Vol. II, No. 3, October 1920: 34-35.

"Jeanne Hallée -- The Paris Openings," in Harper's Bazar, New York: International Magazine Company, October 1922, p. 164.