House of Peron - Parisian Fashion Design - 1920

Blue gabardin dress with apron tunic.

Blue gabardin dress with apron tunic of the same shade of blue silk; red and silver embroidery.

Fine Bead Work on Dresses and Gowns and a New Embroidery in Raised Plush Gives Individuality to Charming Models.

The director of this rising house, M. de Fontenay, began his career with Paquin, went from there to Lucile's, with whom he was connected for many years. His business capacity and taste have been proven by the excellent designers and workers he has selected for his new premises, 2 rue de la paix, which bid fair to rival our greatest houses.

I found at Peron's a very complete collection comprising both draped and straight styles, although there is a distinct leaning to closely following the lines of figures.

The collection includes many serge and gabardine dresses, the somberness of dark blues and browns relieved by varied embroidery, much lighter in tone.

A new kind, of which this firm is the originator, consists in raised elegant designs surrounded and underlined by wool or silk. This idea I noticed on many models, woolen stuffs as well as velvets and Georgettes, giving very good results.

Now that labor conditions are a little better and it is easier to find skilled workers, beautiful beadwork has been resurrected. It is much used here. One robe-chemise is literally covered with blue, black and gold beads, the design forming immense points and lozenges; a large, loose belt of yellow and black is knotted to one side.

“Ouragan,” a blue serge, has a plain skirt trimmed all around in a broad, perpendicular, outstanding bias of black satin closely beaded in white.

The very long belt line and tight sleeves often go with a high turned-over collar which buttons to the throat or can be worn open, as we see by a bright pink duvetyn, the collar lined with a corresponding shade of blue matching the tight row of buttons down the front.

We find few sashes with the lower waistline; the skirt is shirred on at the hips and slightly draped to one side in the very noteworthy case of a dressed kid gown, the kid as supple and pliable as satin, faintly figured in dull beige and blue.

Another, blue serge this time, has a very tight bodice, immense bell-shaped sleeves embroidered closely in pink plush and wool, and a draped tunic skirt. Yet another has a skirt made of rows of narrow petals edged with brick embroidery, which proves that flat ruffles have not said their last word.

The zouave effect, with the turned-in hemline and tight bolero, is to be found several times here.

A black velvet skirt with detached side panels and an almond green vest worked in black silk is chic.

A very distinguished appearing model is taffeta and black velvet. Onto a high necked, long-waisted bodice is shirred a round taffeta apron just overlapping an identical one at the back, each edged with a broad velvet ruching.

I see from my notes I have forgotten to mention a three-piece dress with a quaint jacket; the little frock has a deep yoke embroidered in red beads, while the straight Eton coat ends in long streamers which tie loosely over one hip.

Evening dresses are highly fanciful; first, we have a pale yellow silk poplin, with a large, loose fichu standing out very high at the back, the skirt a succession of flat scalloped ruffles edged by yellow chenille fringe.

Beads, iridescent and dull, combined in a close design, bordered by a broad violet satin ribbon, draped around the figure and caught up to one side, makeup one smart dress.

There is a decided tendency here to unsymmetrical bodices, the pointed décolleté making it possible for one side to be the material, the other a piece of lace and a strap.

My favorite evening dress is cherry chiffon velvet, almost classical in cut. Sleeveless, it has a deep pointed bodice; the skirt, which is draped, has one side seamless and hanging free, lined with gold lamé.

A wide wing hangs from one shoulder at the back, falling almost to the hem; it is of black net embroidered in cherry silk and edged in gold lace.

I noticed a big cape of brown duvetyn combined with a front and high collar of kolinsky; the hemline was wide and flaring, an unusual thing. Other evening capes have the caught-in hem which gives the narrow line at the foot.

On this order is a reversible cape, one side black and silver brocade with a white mouflon collar, the other of royal blue velvet.

This wrap has a deep yoke, so has this one of old-rose brocade scalloped at the base; the skirt of the coat (if I may thus express myself) of rose velvet shirred on very full.

"Peron" in the Garment Manufacturers’ Index, New York: The Allen-Nugent Co. Publishers, Vol. II, No. 2, September 1920: 30.

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