Premet: Parisian Fashion House of Travel Elegance and Modern Couture

Premet Model in Slim, Boyish Lines, and Plaided Brightly. The Material Is Plain Greenish-blue Bengaline. Broad Plaids of Dark Blue Bengaline and Narrow Bands of Turquoise-blue Bengaline Are Stitched to It on the Bold Pattern. Woman's Home Companion, October 1924, p. 78. | GGA Image ID # 1cd3b6db9e

📝 Review & Summary

The House of Premet, active during the early 20th century and directed by M. Winter, held an enviable place in Parisian couture. Located at the prestigious Place Vendôme, Premet was celebrated for tailored coats, wrap-style mantles, and fashionable frocks that reflected both restraint and artistic flair.

For ocean travelers, Premet’s designs were practical yet stylish, blending durability with elegance. Women boarding Cunard, White Star, and French Line steamers could rely on Premet’s ankle-length skirts, tailored suits, and luxurious wraps to keep them fashionable from promenade deck to port.

The emphasis on travel-ready materials — serge, duvetyn, velours de laine, and Bengaline plaids — made Premet’s collections especially relevant to first- and second-class passengers crossing the Atlantic.

For teachers, students, and historians, Premet offers a lens into:

• The evolution of women’s fashion between pre-WWI romanticism and 1920s modernism.
• The role of couture in shaping transatlantic travel wardrobes.
• How fashion houses responded to wartime austerity while maintaining Paris’s status as the capital of style.

Genealogical context: ancestors’ portraits or passenger list mentions of “Premet gowns” signified wealth and fashion awareness.

📌 Quick Facts

Founded: Early 20th century, Place Vendôme, Paris

Director: M. Winter

Signature Look: Tailored coats, ankle-length skirts, elegant wraps

Favored Fabrics: Bengaline, duvetyn, velours de laine, faille

Ocean Travel Connection: Practical yet stylish ensembles for transatlantic passengers

Wartime Note: Maintained house open during WWI to employ seamstresses and support Red Cross efforts

Skirts of Ankle Length, Loose, Wrappy Coats, and Mantles with Elaborate Linings Included in Large Range of Attractive Models

The Place Vendôme, for many years the center of Parisian elegance—the home of higher dressmaking circles, boasts no more innovative or better-known firm than Premet, of which M. Winter is the able director.

(L) Slender Women Will Be Interested in a Gathered Motor Coat Achieved by Premet With Pheasant Colored Satin. The Loose Collar, a Creation of This House, and the Shirring on Sleeves Are Distinctive. (C) From Premet Is a Youthful Little Frock of Black Chiffon With Jerkin and Cuffs of White Broadcloth Trimmed With Black Braid, Small Black Buttons, and Loops. A White Chiffon Petticoat Shows Below Tunic. (R) No Wardrobe Is Complete Without a Handsome Separate Coat. Taupe Velours de Laine With Mole Skin Is Used for This One by Premet. The Arrangement of the Fur Is in the Very Newest Mode. Harper's Bazar, September 1916, p. 60. | GGA Image ID # 1cd6fa2f80

The fall collection presented by Premet has many striking features: one of which, general to all the models, is a quite long hemline, in many cases ankle length.

Tailor-made of broadcloth, cheviot, drapella, blanket cloth, and duvetyn are primarily black, iron-grey, cinnamon, snuff, or mustard. The jackets, three-quarters or longer, are very plain and straight, mostly with high collars, a picturesque and unexpected detail giving a personal note to one and all.

A beige model has spacious patch pockets of black pony picked out in white; another, of black cheviot, has deep slits lined with red at the sides of both coat and skirt.

Yet, a third of the black drapella has a high collar, and deep black leather points let into the hems of the jacket and skirt. Skirts occasionally have a double pleat or bias at the side, but the major part is plain.

To compensate, each suit is worn with an elaborate blouse put on over the skirt; the prettiest are of Georgette, high necked, much embroidered in metal, silk, or beads.

Next, I noticed a series of business-like, double-breasted suits, perfectly severe, finished off as collars and sleeves like a man's coat. They are brilliant; a fine black silk braid edges one black broadcloth. One chic model to finish: the coat is grey to the hips, where a broad band of black is added: two similar black bands appear on the skirt.

A short grey lamb coat worn with a Persian blue gown has a soft, comfortable collar, the ends tied in a kittenish bow (lined with the blue of the dress) at the side.

Premet presents an extensive and complete collection of coats and capes: soft blanket fabrics in burnt orange, mandarin, greenish-yellow, plaid, or grey make ideal traveling wraps; immense floppy sleeves, oversized, indefinite collars, and a generally loose line make them easy to slip into.

Other materials I am almost tempted to classify as fur are:

• Very fine flat plush imitations of broad-tail in black.
• Musquash in brown, pony skin.
• Caracul in grey.

For the Pensive Mood Is This Demure Frock From Premet. Quaker Grey Crêpe de Chine Is the Appropriate Material. The Fichu Decoration and Tassel Are Blue and Silver Crystal Beads. Harper's Bazar, September 1916, p. 61. | GGA Image ID # 1cd716bdbf

The new woolen goods with stripes and plaids woven much in relief are well represented: red and grey stripes crossing on a fawn ground make a smart coat.

A mustard-colored blanket wrap has a big blue and yellow worsted collar and cuffs. Another grey is trimmed with the hand-woven grey braid launched this season, which looks like drawn-work or herringbone.

For the afternoon, mantles are worn with a tiny barrel-shaped muff matching the fur collar; the coats belong to the loose categories, often with deep embroidered yokes. One black velvet with a huge upturned ermine collar is cut around the hips by an inset band of ermine slightly shirred.

Premet's Interpretation of the "Butterfly Gown" Is Given in This Afternoon Frock of Taupe Velvet and Satin Brocade. The Overskirt Extends to the Bottom and Is Attached Across the Front With the Fullest and Fluffiest Box-plaited Ruches. The Funny Little Overskirt Is Wired and Faced With Magenta Satin. This Color Note Is Repeated on the Elegant Little Waist in the Sleeves and Under the Blouse of Embroidered Chiffon. Edging the White Net Collar Is a Narrow Band of Fur Cut To Simulate Fringe. Harper's Bazar, October 1913, p. 51. | GGA Image ID # 1cbe2e0ce2

Plush in white, electric blue, and pink is a surprise; white plush, trimmed at the sleeves and collar by pale yellow floss silk arranged in rows of thick fringe to imitate fur, is also new.

Special attention is paid to linings, many-colored, figured, and edged by a tiny detail of braid, soutache, or ribbon. A black velvet coat with a white wool crochet yoke is lined in swans down, white with an edge of black. A plain seal cape with an excellent line has wide sleeves of black silk muslin.

Of course, there are coat dresses—one of blue serge, the sleeves, collar, and back forming one piece and coming over a narrow straight front, the collar, broad belt, and sides embroidered in red cloth and gold.

Premet Is Heralding Them in This Gown of Tete de Nègre Soft Taffeta. Still, the Twentieth-century Version Is a Bustle With a Large Waist and Perfectly Loose, Supple, Uncorseted Figure. The Quaint Little Plaited Over Skirt Is Wired, Hanging Free From the Foundation. Beneath This, the Draperies Take the Form of a Sash, Finishing in Looped-up Ends in the Back, and the Fulness in the Back Is Further Accent Looted by Draped Box-plaits Which Reveal Row Upon Row of Tiny Plaited Ruffles, Just Where the Heel Kicks Them. Harper's Bazar, October 1913, p. 51. | GGA Image ID # 1cbede4235

Most of the day dresses have a flat apron hanging to a loose belt in front or a tunic a little longer than the skirt at the back, coming well over the sides. Two panels overlapping are another way of "doing" aback.

There are many high necks; collars finishing as a scarf or tied in a bow are chic. Sleeves are long; full ones may have a tight cuff to the elbow, the fullness shirred into it there: others forming a point on the outer arm are cut in a V to the elbow inside.

The trimmings are various; fur worked in patterns for collars and motifs; drawn work braid; thick fringes of floss silk.

A Gown, Blouse on a Blue Serge Frock, and an 1880 Frock by Premet. Harper's Bazar, May 1914, p. 56. | GGA Image ID # 1cbf251b2f

Captions for GGA Image ID # 1cbf251b2f

1. Premet is as original in the combination of materials as in designs. On a gown of shot taffeta in the mauve and champagne tints plaited tulle tunic has been added. A clever color scheme has been developed by embroidering the Directoire jacket with amber beads. The Incroyable collar is another interesting feature.
2. A low-neck blouse on a blue serge frock has no incongruity for Premet. He leaves the neck bare to the vest of white organdie which rises above a waistcoat of black satin, merely adding a neckband of magenta velvet. A pocket effect is given at either side of the skirt by the Bulgarian em broidery, which also ap pears on the bodice.
3. Will Premet's 1880 frock bring into vogue the semi-fitting bodice? The outlining of the figure as shown in this black taffeta frock is very generally becoming. Below the hips the bodice takes on a sash like character and is draped over a tunic of chiffon embroidered in the self-tone. The shirt is "hitched up" in the fashion of that period.

The latter is well used on a black charmeuse, the fringe edging the sides and hem of the detached panels. Velvet appliquéd is well done at Premet's; it is applied in semi-circles below the belt of a black velvet gown.

A straight black satin embroidered in white spangles has white Georgette sleeves worked over in black spangles, a happy instance of a widespread effect.

Tiers of Ruffle Break Forth at the Sides of This Premet Model, Lending the New Silhouette in a Novel Fashion. To Top It, This Designer Adds One of the New Coats, Short, and Double-breasted in the Front and With a Long Panel in the Back. Harper's Bazar, December 1914, p. 42. | GGA Image ID # 1cbf549049

Waxed crêpe de Chine is the latest addition to the ciréd list: parts of a brocade pattern traced over in beads is an ingenious idea; dyed lace is in frequent use, red combined with black I liked particularly; crêpe brocaded in flame-colored velvet is beautiful.

Evening dresses managed to be tight and draped at the same time. The long line includes a train (or sometimes two). The necks are square or pointed; these gowns, of which a Royal blue velvet is an example, are draped up at the back and have two panels, the longest one forming a train to one side at the back, the shorter hanging a little to the front on the same side.

Fashionable Outfits by Premet. (L) Premet's Chemise Gown of Old-blue Edition Bears No Resemblance to Its Humble Origin. A Platted Old-gold Underdress Peeps Out at the Bottom and Matches the Old-gold Embroidery. (C) Premet Delights in Adding a Black Velvet Locket. Collared and Cuffed in Chinchilla to a Skirt of Faille. In This Model. The Faille Striped in Black Velvet Is Straight in Front. (R) Premet Fancies the Combination of the Velvet Coat With the Cloth Skirt. Here a Circular Skirt Is Covered From Hem to Waist With Bias Bands of Cloth. Harper's Bazar, January 1915, p. 34. | GGA Image ID # 1cb0e89ab7

One of the most celebrated Parisian VIPs who, among other things, predicted the European conflict, has also made some predictions as to fashions. How she arrives at her conclusions, I do not know. Perhaps by reading the palms of the managers of the large sewing establishments or scanning those of the best dressed Parisiennes. At any rate, she declares that this year there will be a return to local and regional costumes, to the national outfits our peasant women wore—and fashion designers will seek their inspiration in these costumes.

I doubt if this will be so. Most assuredly, the costumes of our provinces are attractive. The retro dress of the women of Arles has lent color to many a scene. The Brittany bonnet, and the wide skirts with the little band of velvet, have been immortalized on many a canvas, while the sizeable Alsatian bow and the short black velvet corselet are at the present moment sketched in almost every paper.

Before the war broke out, dressmakers went back thirty, forty years or so, and this tendency, far from stopping, seems to be increasing. And yet, I say, I doubt whether these costumes will influence fashions strongly. It may be that after the war, French styles will be more nationalistic than ever, but I think that the source of inspiration will be the dress of the present women, or the women of the cities, rather than peasant costumes.

Just as this war brings forth comparisons with the war of 1870, the dress of today's women is compared to that of the women of 1870.

It shows that our French customers have risen to the situation: they have cut out the extra—their frivolity—to be able to give more to those who need it. We who cater to the trade deluxe suffer from the zeal of our women to help the war victims, but we are glad to do so. Instead of feeling discouraged by our empty salons and unbought dresses, we feel happy.

In a certain measure, however, life must go on. The Parisienne, therefore, orders dresses, but one or two where she usually orders more than a dozen. And everything is of the simplest. Plain vigogne tailormade, simple little serge walking-gowns, afternoon gowns with no ostentation, and evening dresses that are pretty timid. The grand luxe is for the foreigner.

As I have said, dresses have gone back not quite half a century for inspiration. But at the same time, the modes of those days have been so adapted that they are scarcely distinguishable in some cases. The upper part of the silhouette is invariably close fitting, while the skirts widen towards the bottom.

The wide-sash effect is still used and will be used, sometimes combined to make a yoke effect on the skirt. Skirts are often very wide at the hem and frankly circular. Still, the fullness is arranged very carefully, usually concealed beneath a drapery or a yoke around the 'tips with the width coming at either side, while the front and back of the skirt are plain.

The coats. to go with these skirts are long in the back and short in the front. For plain walking costumes, serges, gabardines, and vigognes are popular. For afternoon costumes, cloth is much used, especially velvet coats. Silk, especially faille or taffeta—the natural old-fashioned taffeta minus its cracking qualities— is exquisite when made with velvet coats.

An exciting dress combines black satin and a white serge coat. The dress is a sort of a long chemise, plain and square, long-waisted, with motifs of white embroidery. The neck is outlined in white serge, matching the coat.

This is a long redingote affair of white serge, long-waisted, with considerable fullness in the back below the hips. The collar is of black satins like the dress and the coat. When half open, it is a clever contrast of the two colors and materials.

Circular Wrap, Serge Dress, and a Satin Dress by Premet. (L) A Circular Wrap of Cerise Velvet Embroidered in Silver and Gold Is Supplemented by a Circular Ruffle of Silver Embroidered in Cerise and Gold, Held by a Fur Banding. (C) The Popular Navy-blue Serge Dress by Premet Has a Plaited Flounce of Copper-colored Chiffon and Embroidery of Beads in Various Colorings. (R) Over a Flesh-tinted Satin Sheath. Premet Drops a Series of Blue Net Ruffles and Bouillonés, Catching Them With Tassels of Blue Beads, and Topping Them With a Corsage of Alençon Lace. Harper's Bazar, January 1915, p. 35. | GGA Image ID # 1cb16742f1

Furs are used in profusion, and we have launched several novelties. Among the most successful is our method of dyeing moleskin and combining it with the natural skin from designs and patterns. Another novelty that we have introduced this winter is plaid moleskin. The fur, of course, has to be especially prepared.

Out of this, we have made some fascinating wraps. One of these shows the fur dyed in soft dark greens and blues, with very, very narrow strips of the natural fur forming a brown hairline. The effect is precisely that of a Scotch laid, only softer and more lustrous. This wrap is ed with a dark-blue cloth.

And here is a point. By the linings of your coats, others shall know ye. Linings will be quite the contrary to what they have been, and by her lining, a woman will show whether she is up-to-date or not. Heretofore, evening wraps have been made of velvet, lined with silk. Now the wraps are to be of silk, lined with velvet.

Velvet, indeed, is used as a lining in heavier wraps as well. For instance, an ermine wrap ordered by an American woman of social prominence is of tailless ermine, full and wide. From the shoulders, outside the coat, falls a cape, a trifle shorter than the coat. This wrap is lined with a brilliant old-gold velvet.

Another evening cloak lined with velvet is a new dazzling shade of cerise, tempered by cross threads of silver and gold with motifs of gold and silver. A ruffle of silver tissue, correspondingly embroidered in cerise, edges the coat, lined with a deeper cerise velvet. An amusing feature is the butterfly bow placed at the back of the collar. The streamers fall to the hem of the coat.

The supple, pliable fabrics of the last few years are losing their vogue, and we are returning to materials of more body. For separate wraps for afternoon wear, we invariably use cloth as lining, Cloth of dark colors and light. Soft satins are not seen, but the petite satin duchess, for instance, will be widely used. And chiffon velvets are being replaced by the old real velours de Lyons.

The clinging gown has seen its day; we now look for the quaint, the picturesque. Our idea] is to retain the graceful slightness of the silhouette, but to envelop it with a certain fullness, to do away with the awkwardness that sometimes occurs with the very tight skirt.

Therefore, despite ruffles and width, one must make skirts to keep the figure's slender line, and even if the bodice seems to be reminiscent of the days of tight corsets, the effect is only apparent. Today's gown must not be secured around the waistline nor pinched; it must allow freedom of movement.

We are introducing many striped effects, and faille and velvet materials are much favored. A black skirt of striped faille, velvet, and velvet jacket with chinchilla collar and cuffs is a good example. The coat is slightly garnered at the side, as is the skirt.

A costume of tan cloth and velvet has been much copied. The cut circular skirt is trimmed by bias bands of cloth placed across it from yoke to hem. The jacket is very short at the front and long at the back. A fur collar and cuffs complete the costume.

All our suits have chiffon waists to match. The sleeves are invariably long, as are all sleeves this season, except for evening dresses. We are making many bishop's sleeves of chiffon and sleeves slit crosswise at the elbow, letting a puff of another material fall. A deep grey and brick chiffon gown has a grey sleeve showing brick puffs.

Some of our skirts, by the way, dip back and front, being shorter at the sides. For plain serge costumes, we use a lot of braid for trimming.

For evening dresses—dancing frocks for America —there are many combinations of satin and tulle. A sheath of canary yellow is covered with a royal blue silk net, shirred and puffed, and fastened with little bows of blue velvet.

Only on evening dresses is the long tunic seen. A novel combination for evening wear is navy blue satin with a white chiffon tunic. A satin girdle outlined with fur and Alencon lace finishes the costume. A pink rose is fastened at one side.

There is an evening gown of metallic tissue so sheer as to seem like chiffon for the woman who can wear dashing clothes. The skirt is quite plain, although hung with tulle, and the bodice is cut along military lines at the back with a straight, high-standing collar.

In the front, there is scarcely any bodice, merely a soft swathing of the silver tissue across the bust. The contrast between the overdressed back and the very décolleté figure, and the entire absence of sleeves, which are merely outlined by strings of pearls, is becoming the woman who can wear clothes that startle. But such a dress is not for the Parisienne this year.

Indeed, to write about fashions is an anomaly. The only fashions are bandages and Red Crosses.

Editors Note: When asked to write an article for Harper's Bazar on the coming fashions, E. R. Winter, "Premet," was found in uniform, ready to obey the call to arms. Like most of his confréres, Premet has kept his establishment open principally in order to give his working girls employ ment. Premet has also organized a Red Cross ambulance.

Women's Fashions by Premet. (l) Double Cape of Gridline Soutache, Beige Striped in Black. The Collar and Both Capes Are Lined With Black Charmeuse. (c) A Summer Cape of Navy Crêpe Marocain Is Lined Same Material in Brick; The Front Is Cut Into Panels Forming a Scarf Collar and Arm-Slits Reaching to Hem. (r) "Double-Deck" Cape of Black and White Rodier's "Arbuste de Sassanide" Serge Combined With Black Satin. Garment Manufacturers' Index, April 1921. GGA Image ID # 1a376b667c

Premet's is one of the houses everyone enjoys writing about because the collection is always good, exciting, and full of valuable hints of the future.
This season is perfect; the models consistently keep the same line, from morning suits to whole evening dresses. No heavy trimmings or flashy colors, but a quietly daring cut and the most exquisite details.

Premet's coat and jacket linings are celebrated for their finish and charming little touches of ribbon or embroidery, which manage to make them entirely different. This is a detail, but it shows the care this house bestows on the minutest trifle.

Every tailored style, from the classic smoking jacket to the highly fanciful bolero, is seen in firm light colors, a delicate spring-like green predominating.

Tennis Costume by Premet. Photo by Studio Femina. Les Modes, Issue 185, June 1919, p. 21. | GGA Image ID # 1cdfc2c638

Black Net Gown with Satin Bodice by Premet. Photo by Baron de Meyer. Modele Depose. (Harper's Bazar, November 1927) | GGA Image ID # 22721a5b36

1927 Advertisement for Premet - Where to Shop in Paris Campaign. 8, Place Vendôme - Paris " Alpina” Lizard and Snake Skins Are an Asset to Fashion at the Smartest Couturiers in the World. Grace to the " Alpina” Secret, They Have Been Rendered Supple to Manipulate and Adaptable to Dyes ... Premet Chooses a Delicate Skin of Green to Go With Pale Grey Reps, “Alpina” Reptile Skin Has the Vogue. (Harper's Bazar, July 1929) | GGA Image ID # 226735d289

🌟 Most Engaging Content

Travel Outfits (Woman’s Home Companion, 1924): Slim boyish silhouettes in bold Bengaline plaids — perfectly suited to modern ocean travelers.

Motor Coats & Mantles (Harper’s Bazar, 1916): Practical, stylish coats ideal for voyages.

Butterfly Gown (1913): A whimsical mix of taupe velvet and brocade, showing Premet’s playful edge.

En Fanvier Wartime Fashions (1915): Simple serge and vigogne walking gowns, reflecting patriotic restraint during WWI.

Evening Wraps with Velvet Linings: Dazzling use of fur and velvet lining that symbolized luxury aboard liners.

🖼️ Noteworthy Images

Travel Outfit, 1924 – A slim, plaid Bengaline ensemble showing the transition to 1920s sporty modernism (Image ID #1cd3b6db9e).

Demure Frock in Quaker Grey – Simplicity accented with crystal beads, reflecting restraint (Image ID #1cd716bdbf).

Butterfly Gown, 1913 – Theatrical overskirt, wired for effect, showing Parisian whimsy (Image ID #1cbe2e0ce2).

Tennis Costume, 1919 – Example of fashionable sportswear bridging leisure and practicality (Image ID #1cdfc2c638).

Black Net Gown with Satin Bodice, 1927 – A Baron de Meyer photograph exemplifying modernist elegance (Image ID #22721a5b36).

📖 Brief Dictionary of Terms

Bengaline – A sturdy ribbed fabric, often silk or rayon blend, ideal for travel wear.

Velours de Laine – Wool velvet, a plush and warm textile.

Caracul / Musquash – Types of fur, used in coats and trims.

Faille – Ribbed silk or rayon fabric with a soft sheen.

Mantle – A long, loose wrap or coat, popular for travel and evening wear.

Bouillonné – Gathered or puffed fabric detailing.

Incroyable collar – Inspired by late 18th-century fashion exaggerations.

🎓 Essay Prompts

1. Ocean Travel & Fashion: How did fashion houses like Premet design for the specific needs of ocean travelers?

2. Fashion in Wartime: What does Premet’s wartime austerity reveal about the relationship between politics, patriotism, and fashion?

3. Cultural Identity: How did Premet balance Parisian couture identity with global markets like America and England?

4. Fashion Genealogy: If a family photograph shows a Premet-style gown, what can this reveal about social status, travel habits, and cultural engagement?

Bibliography

"Premet" in the Garment Manufacturers' Index, New York: The Allen-Nugent Co. Publishers, Vol. II, No. 3, October 1920: 18-19.

"Premet," in Garment Manufacturers' Index, New York: The Allen-Nugent Company, Vol. II, No. 9, April 1921, p. 17.

"En Fanvier by Premet," in Harper's Bazar, January 1915, pp. 34-35.