French fashion has held its reputation for luxurious excellence since the reign of Louis XIV when keeping up with the changing mode of Paris fashions became an expression of success and good taste.

House of Worth Workrooms (1907)Fashion History Museum

House of Worth Workrooms, 1907

In 1858, English-born Charles Worth, partnered in a dressmaking firm in Paris. Worth reinvented couture by becoming an arbiter of good taste. Rather than creating unique designs under the client’s direction, Worth’s pre-designed fashions were hand finished to the customer’s measurements. His business model was successful and in 1868 Worth created a syndicate of couturiers that survives today.

Velvet Mantle trimmed with Ostrich Feather Tips (c. 1890) by A. Guillot & CieFashion History Museum

Velvet Mantle trimmed with Ostrich Tips by A. Guillot & Cie, Paris, c. 1890

Made-to-order gowns were created by couturiers, but ready-made garments were sold as confection. Garments that could be adjusted or did not require exact tailoring, like capes, were usually ready-made confections.

Beaded Wool and Velvet Dress (c. 1894) by Imitation "Worth"Fashion History Museum

Beaded Wool and Velvet Dress, by "Worth", Paris, c. 1894

Credited knock-offs were common and acceptable at this time. This well made copy by an unidentified maker put the Worth name on the label in quotes. Design piracy didn't start being seen as a serious problem until the 1910s.

Wool Suit with Ceramic Buttons Silk Trim (c. 1914) by Martial & ArmandFashion History Museum

Wool Suit by Martial & Armand, Paris, c. 1914 (shortened c. 1917)

Mr. Martial was always a mystery – nobody ever knew if he even existed. Martial & Armand’s first dress collection appeared in 1902 and by 1906, the company was exporting abroad, especially to the United States.

Jeanne Paquin Fashion House Salesroom (1910)Fashion History Museum

The Art of Fashion and the Fashion Business

Design piracy had become a significant problem especially for the export market. In 1911, the rules for belonging to the Chambre Syndicale de la Couture Parisienne were stiffened, ensuring only the top ‘Haute Couturiers’ who made only their own original designs, employed a certain minimum of people, and presented a minimum number of original designs each season belonged to the elite association. The number of designs and employees changed over the years, as did the rules in general.

Silk Taffeta Dress (1920/1921) by Jeanne LanvinFashion History Museum

Silk Taffeta Dress by Jeanne Lanvin, Paris, Winter 1920-1921

The 1920s and 1930s were a golden era of female designers in Paris. The best known, Lanvin, Chanel, and Schiaparelli all came to fame during this interwar period.

Printed Silk Velvet Dress (1927) by Phillipe & GastonFashion History Museum

Printed Silk Velvet Dress by Phillipe & Gaston, Paris, 1927

It was vital for couture houses to maintain a reputation for good taste by ensuring clients would not run into a poor copy of their dress design worn by someone else, even simple dresses like this one.

Bead and Sequined Silk Chiffon Evening Dress (c. 1925)Fashion History Museum

Bead and Sequinned Silk Chiffon Evening Dress, ‘Made in France’, c. 1925

A brisk trade developed in the 1920s and 1930s for dresses made by unidentified Parisian fashion houses. French fashion was seen as good by the mere virtue of being French.

Jersey Chiffon and Cellophane Straw Evening Dress (Spring 1938) by Catherine ParelFashion History Museum

Jersey Chiffon and Cellophane Straw Evening Dress by Catherine Parel, Paris, Spring 1938

Like most Parisian designers, few were Parisian born. Russian born Yekaterina Bobrikova set up her own fashion house under the name Catherine Parel in 1936.

Cover of L'Officiel magazine (1945-06)Fashion History Museum

L’Officiel magazine, June 1945

By 1920, fashion magazines were focussing more on designer names but some haute couturiers didn’t want their work photographed to avoid piracy. Many fashion magazines began to use drawn renderings or artistic photography that blurred and obscured details.

Suede and Kid Evening Pump (late 1930s) by PerugiaFashion History Museum

Suede and Kid Evening Pump by Perugia, late 1930s

Paris was a centre for fashion and accessories. Shoe designers, milliners and others poured into the city to capture the international market that flowed through the capital.

Green and white wool turban (1943/1946) by Rose ValoisOriginal Source: http://fashionhistorymuseum.com/

Yarn Turban by Rose Valois, Paris, c. 1945

During World War II, Paris fashion no longer lead mainstream styles as it was isolated under Nazi occupation. Vera Leigh, one of the owners of Rose Valois, was also a member of the French resistance and was executed for being a spy in 1944.

Black Etched Pattern White Kid Gloves (1959) by HermèsFashion History Museum

Black Etched Pattern White Kid Gloves by Hermès, Paris, 1959

Founded as a saddlery in 1837; Hermès began producing handbags in 1922 and quickly expanded to large collections of designer clothing and accessories, including gloves.

Dior Fashion Show (c. 1950) by DiorFashion History Museum

Halcyon Days

From the end of the War in 1945 until the late 1960s, Parisian couture experienced a golden age. Tickets to the atelier shows in February and August to view the couture spring and fall collections, like this show at Dior in 1950, were by invitation only.

Taffeta and Silk Evening Gown with Bead Embroidery (1953) by Pierre BalmainFashion History Museum

Silk Beaded Evening Gown with Bead Embroidery by Pierre Balmain, Paris, 1953

Balmain, along with Dior, were the two newest sensations in postwar Paris. Both were known for their elegant and feminine styles.

Green Moiré Silk Evening Gown (c. 1958) by GivenchyFashion History Museum

Moiré Silk Evening Gown by Givenchy, Paris, c. 1958

Givenchy opened his couture atelier in 1952, and created his first prêt-à-porter collection two years later. By the 1950s, prêt-à-porter was becoming more important than couture if a Paris designer wanted to be successful.

Sequinned and Beaded Silk Evening Dress (c. 1966) by Harry AlgoFashion History Museum

Sequinned and Beaded Silk Evening Dress by Harry Algo, Paris, c. 1966

There never was a Harry Algo, but many American and Canadian department stores bought heavily from French manufacturers who made affordable but high quality designer wear that knocked off couture styles.

Silk Dashiki-inspired Dress with Beading (Spring 1968) by Yves St. LaurentFashion History Museum

Silk Dress inspired by the dashiki, by Yves St. Laurent, Paris, Spring 1968

Paris couture in the 60s was in crisis as ready-to-wear from other countries became popular. YSL successfully opened his own Rives Gauche ready to wear collection but also made couture that appealed to younger women.

Fashions by Pierre Cardin, Emmanuel Ungaro, and Courreges (late 1960s) by Pierre Cardin, Emmanuel Ungaro, and CourregesFashion History Museum

Late 60s fashions by Cardin, Ungaro, and Courreges

These designers created easy-fitting clothes, trousers, and knitwear - fashions young women wanted to wear.

Credits: Story

Highlights from the exhibition 'Made in France" on display March 13 - December 22 2019 at the Fashion History Museum 74 Queen Street East, Cambridge, Ontario

All artifacts are the property of the Fashion History Museum. Photography belongs to the Fashion History Museum

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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