It's Springtime in Paris

The new clothes offer a return to simplicity "Fashion is a reflection of the times.

We all need a little calm," proclaimed French Designer Jean-Louis Scherrer last week. Perhaps so, but when fashion's big spenders came to view the couture collections for spring and sum mer, they were far from calm about what they saw. In the crowded showrooms of Paris last week, high-stepping models marched off the runways to the sound of ear-tingling applause and rustling checkbooks.

As expected, Yves Saint Laurent and Christian Dior's Marc Bohan shared center stage in presenting haute couture to the class of '78. Their message was wel come to those grown weary of gypsy dresses and the theatrical costuming that has flavored European fashion for the past three seasons. The feminine form is back, in clothes that are clean-lined, uncluttered, soft and supple. Today's couture, said Bohan, "is a return to simplicity."

It is, of course, highly styled simplicity. Pantsuits are back, with pleated trousers that are cuffed, tapered, and short enough to restore the ankle to the erogenous zones. Jackets are often short, with wide shoulders but enough careful tailor ing to avoid the tough-guy, gangster look.

Skirts and dresses can be flowing or straight and slit; hem lines are generally shorter, falling just under the knee or to midcalf, but hardly ever to the ground. Heels are high and narrow.

If less daring than in years past, last week's collections seemed decidedly more wearable. Dior's Bohan bolstered his stock of gowns with evening pantsuits in sensuous fabrics. Scherrer leaned toward a Chaplinesque look in suits, and even outfitted his models with bowler hats and canes.

Cardin included in his show a strapless black outfit with a satin belt, while Guy Laroche took off with a multicolor batwing evening dress. From Lanvin came a sheer-topped gown with delicate pastel embroidery, and from Courreges, a skirt and blouse combination laden with ruffles. For most of high fashion's critics, clients, and trend watchers, the week's main feature was the Saint Laurent collection. Paris' No. 1 designer, who launched the costume revolution with his Russian, gypsy, Cossack fashions of 1976, had presaged a return to modernity with his ready-to-wear show last October. "There is no more revolution," observed Madame Ida, the maestro's longtime aide. "This is evolution."

Saint Laurent's new diaphanous chiffon dresses, often edged in ruffles, left no doubt about the feminine silhouette within. "They are much more feminine and easy to wear than the wide, stiff taffeta gowns of the earlier collections," proclaimed Marie-Helene de Rothschild, of his $2,000-to-$7,500 designs.

The tuxedo suit with the short Spencer jacket dominated the collection. Shown with cuffed slacks or over a narrow skirt, the jacket was matched with sexy blouses, narrow-brim straw hats and a variety of ties. Once noted for the austere tailoring of his classic pantsuits, Saint Laurent has now softened his approach. His showstopper: a black satin tuxedo suit whose jacket was opened to expose a decorative strapless black lace bra.

At times, his presentation seemed like a well-tailored tribute to his American audience. A blaring rendition of Porgy and Bess paced his models at the Inter-Continental Hotel, and he described the Gershwin classic, now onstage in Paris, as the source of his inspiration and "the epitome of the American spirit ... modern, sexy, amusing and full of gaiety." Saint Laurent's focus on the American spirit may have been good business as well as good showmanship. He was no doubt considering the American boutiques for which his couture styles will eventually be adapted.

sb

This file is automatically generated by a robot program, so viewer discretion is required.