“The Grand Duchess Vladimir wore a dress made by Félix, of palest pink velvet, with a long train bordered by rouleaux of sable; two black wings powdered with diamonds in her hair, and a stomacher of diamonds and rubies.” —Vogue,* March 18, 1893

“2.30 a. m. I have just returned from the Countess of Ludleigh’s grand dinner in a ruined new Felix gown, as well as in a state of exhaustion bordering upon hysteria.” . . . “In America they say, ‘She has bought herself a duke.’ Here they say, ‘He was obliged to pawn his escutcheon to an American’ . . . . The duke pocketed my two millions, began the restorations in the town and country-houses . . . . and now when my Felix gowns arrive from Paris with a C.O.D. bill of a thousand or so, it is always the same: ‘So sorry, don’t you know, m’ dear; but it’s very awkward just at present. If you want your gowns without delay, just draw on Denver, y’ know, for a thousand or two!’ ”—“Which Is Preferable? In the Event of an International Marriage, Ought the Bride to Retain Absolute Control of Her Property? Decidedly Yes!”, by Nina, Vogue, September 29, 189

“ ‘When, to console him, I told him you were not worthy of him, he turned on me like a tiger. He left Paris because of you. He worshipped you body and soul. When I told him I would write to him of you, he kissed my hands devouringly. Does that sound like Félix gowns, Thenier pictures, and all such trash?’ ” —From “Entre Deux,” by Laura Spencer Porter, Vogue, June 7, 1894

“French Costumes Drawn in Paris Especially for Vogue: Fig. 1—Felix ball dress. Skirt and bodice made of salmon-colored satin. The bodice (fastened behind) is trimmed with ribbons forming in front a double row of bows, between which is an imitation of lacing; this lacing, of black ribbon, embroidered in silver; sleeves of silk gauze, draped bertha of white lace.” Vogue, June 4, 1896

“French Costumes Drawn in Paris Especially for Vogue: Fig. 10—Louis xv. jacket made of striped green velveteen with revers and edges of lace. Enamel buttons set round with Strass. The garment was made by Felix.” Vogue, June 4, 1896

1896

“Collets, or the short capes of this season, differ from those of last year by being still more elaborately trimmed, and, it is to be taken for granted, are as much more costly. One of these creations of Félix is indeed charming. If you will imagine a short black satin, pointed yoke, overwrought with surpassingly fine steel and jet paillettes, and attached to it a white satin round cape, lined with white satin, reaching the waist, with a full straight flounce of white gauze with satin edge falling over. Over this, again, a very light beautiful Chantilly flounce, a trifle shorter, hangs gracefully. On the high white satin collar are feather swirls of white chiffon, intermixed with plisses of cream-white lace, and in front delicious bunches of Nice violets. The cape is fastened very simply by a hook-and-eye, hidden under the yoke. —“What She Wears,” Vogue, April 2, 1896

Dress at the Horse Show: “Miss Gardiner—Felix gown of blue cloth. Full skirt, with deep hem. Tight-fitting blue velvet bodice, with revers and cuffs, trimmed with bands of dark mink. Vest of white cloth, richly embroidered in gold. Gigot sleeves of blue cloth. Mink girdle and collar band. Short basquine of blue velvet. Velvet toque, trimmed with fur.” Vogue, November 15, 1894

“3790—Visiting toilet made of dark blue woolen goods mixed with silk, from Felix, Paris. Corsage: figaro with postilion casque, same material as skirt and lower part of the sleeve in multi-colored silk like the vest worn under the figaro. The jacket has ‘Directoire” revers and ‘Medicis’ collar of white satin, edged with a flounce of white silk gauze.” Vogue, April 16, 1896

1897

“Every fashionable woman is interested in any gown or wrap that emanates from the Maison Felix.” —“Fashion Tips for Christmastide,” by Marcella, The San Francisco Call and Post, December 12, 1897