Flanner remarks that “one of the explanations of her phenomenal success here [in Paris] was the un-European modernity of her silhouettes, and their special applicability to a background of square-shouldered skyscrapers, of mechanics in private life and pastimes devoted to gadgetry. It is significant that, among strict Parisians, her vogue in Paris is one of snobbery; a frock from Schiaparelli ranks like a modern canvas in boudoirs determined to be à la page. In America, her limited, her exclusive, appeal has been positively wholesale.” “Every woman has at least one of Schiaparelli’s suits or frocks,” The Daily News reports. “She’s the big vogue today….Mme. Peralta Ramos (Millicent Rogers) wears a Schiaparelli suit around Paris….and so does Lady Davis and Mrs. Harrison Williams. But you can just look at the list of the Famous Forty and save me the trouble of putting down the rest of the names.” In February, the designer shows “stiffened shoulder trays, giving the broadest line yet seen,” according to The Montreal Gazette, which also made note of the designer’s focus on the “geometrical cut…which creates a sort of flat stylized figure like those in Egyptian bas-reliefs…. While both these trends lead away from feminine curves, there is not the slightest boyish feeling in the new mode… Another thing noticeable about the new styles is the refreshing lack of period revivals. We have almost decided to ‘be our age.’ ”
“One of the youngest couturieres in Paris is also one of the greatest of them. We refer to Mme. Schiaparelli,” states The Buffalo Evening News. “She has a remarkably acute sense of color. She has a feeling for young clothes, and she has a genius for simplicity. Her new summer collection is another triumph. The silhouette remains, in general outline, slim and straight, with two differences; the very high waistline and the flaring shoulder line.” Schiaparelli continues with the Directoire line in August, but lowered backs. To accentuate the straight line of the body, The Montreal Star reports, Mme. Schiaparelli uses a square padding placed in the hollow of the back…with fullness gathered entirely to that one section.”
In August, as one headline announced, Schiaparelli “Turn[ed] Her Back on Gay 90’s and Early 1900s”—her focus was instead on Chinese motifs. Schiaparelli’s use of themes to organize collections was novel at the time, and was noted by The Commercial Appeal, which wrote: “It is not only the unusual designs which Mme. Schiaparelli presents which makes news, but the superior intelligence she displays in her subjects, and she never fails to select a subject, an event, or some live and interesting thing, upon which to build her designs. It is this, that she excels at to a greater degree, than all of Paris, and the world in creating outstanding and distinctive costumes for women who demand the unusual.”
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