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MADE IN FRANCE
The label 'Made in France' is more than just a tag that identifies an origin of manufacture—in fashion, it suggests style and quality by the mere fact of being French! The reputation for French fashion began in the 17th century when Louis XIV subsidized and promoted national craftsmanship in all the fashion arts. Despite the country’s many wars and revolutions, Paris emerged as the centre of style, envied and copied around the world. This exhibition highlighted some of the museum’s collection of French clothes dating from the late 19th century to the late 20th century.
Made in France
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
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 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, 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 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.
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 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 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 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 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.
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 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.
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 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.
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.
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.
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 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 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.
Late 60s fashions by Cardin, Ungaro, and Courreges
These designers created easy-fitting clothes, trousers, and knitwear - fashions young women wanted to wear.
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