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182 Sentences With "couturiers"

How to use couturiers in a sentence? Find typical usage patterns (collocations)/phrases/context for "couturiers" and check conjugation/comparative form for "couturiers". Mastering all the usages of "couturiers" from sentence examples published by news publications.

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The male couturiers are both enamored of fashion and pragmatic about its uses.
Jackie Kennedy and Nancy Reagan had favorite designers who acted like in-house couturiers.
All of fashion's greatest couturiers have worked with Lesage (founded in 1858) and still do.
BEFORE THE LATE 1970s, the U.S. had mostly followed the trends set by European couturiers.
The garments were made by skilled costume designers whose work was often on par with couturiers.
Then she earned a place as one of the reigning couturiers of high society in Washington.
"When couturiers began making original designs in the 1700s (or even earlier), they were copied," she noted.
He was one of 2011th-century fashion's most brilliant couturiers and one of its most notorious enfants terribles.
The boys of Proenza Schouler have every bit of what it takes to be bonafide couturiers, but they're not.
But it can't be coincidence that more than five couturiers made essentially the same dress just in different colors, right?
But then again, many thought his fall '16 dedicated to the house's couturiers and its atelier was also his last.
Surely they envied the couturiers of the previous century, enthroned in their ateliers, worrying only about, say, draping and embroidery?
According to Ms. Worsley, wearing clothes by British designers and couturiers is a tradition that goes back to Queen Victoria.
Renowned as the most avant-garde of the 20th-century couturiers, Elsa Schiaparelli founded her maison in the late 1920s.
To combat the problem, Paris couturiers licensed their designs to other makers instead of standing by while they were copied.
The dominant couturiers were, of course, in Paris, but every major city had its own couture industry, each with its own distinct style.
Aspiring couturiers can create Sui-esque tote bags in a pop-up studio and embellish and enliven old garments in a denim demolition corner.
"I find these superstitions and traditions to be very exciting," Anderson says of the different couturiers (and their quirks) he researched for the film.
She added that she took style as seriously as music, and that she asked the couturiers André Courrèges and Paco Rabanne to dress her.
But this time around, Lagerfeld was joined by two chief couturiers from the atelier, a sign of gratitude and appreciation for his most unrecognized staffers.
The fashion world has been divided on the issue after some couturiers including Tom Ford and Sophie Theallet said they would not work with Trump.
Both the city and the schedule are worlds where the duo are relatively unknown; for this season, at least, they have not been recognized as official couturiers.
Inspired by Yves Saint Laurent and the couturiers of yesterday, the backdrop featured a 2-D studio complete with mock sketches in rainbows of magic-marker style scribbles.
A Mariah Carey song plays in the background as he examines the look on a model, alongside one of the white-coat-clad couturiers from the Schiaparelli atelier.
One of the bathing outfits from "Le Train Bleu" is on prominent display in "Couturiers de la Danse," which traces couturier-choreographer collaborations from 1924 to the present.
First, fashion lost a major figure: Hubert de Givenchy, the last of the generation of great postwar couturiers such as Chanel, Dior and Balenciaga who really shaped — pun intended — how we dress.
It's only taken seven decades, and seven male couturiers (Christian Dior, Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano, Bill Gaytten and Raf Simons), but Chiuri makes history by taking the position.
But he did help secure a major loan from Sheikha Moza bint Nasser, the wife of the former emir of Qatar: four gowns by Jean Paul Gaultier and Karl Lagerfeld, among other couturiers.
Affectionate remembrances bubbled up over the weekend as thousands of artists, photographers, filmmakers, dancers, couturiers, and creatives across Africa and around the globe mourned the death of Sidibé, across social media and online blogs and journals.
It's switching gears this season and showing in the raw bones of its new store-to-be on the Place Vendôme (opening date T.B.D.), where the Paris couture jewelers and couturiers have historically had their shops.
Since you probably already own enough striped tees and black leather jackets to prove your affinity for the country's couturiers and ready-to-wear mainstays, we're shifting the focus to another fashion item the French do best: lingerie.
French label Givenchy, another brand which like Dior is owned by LVMH, also celebrated its ateliers at its show on Sunday, as designer Clare Waight Keller appeared at the end of the presentation alongside the team of couturiers.
Synonymous with some of the defining styles of the era such as the miniskirt and hot pants, she helped spark a quantum shift in fashion, pushing the boundaries of acceptable streetwear and challenging the dominance of male French couturiers.
Some even had me thinking of orchestra musicians, who wear all-black so as be invisible, and I think that mysterious quality is part of why Balenciaga is regarded as one of the most influential haute couturiers of the 20th century.
From 1947 to 1952, Mr. Givenchy worked for the eccentric Ms. Schiaparelli, dreaming of starting his own house even as leading couturiers, including Edward Molyneux and Mr. Piguet, were closing their doors because of the rising costs for luxury fabrics.
The designers most often cited as inspiration for the film are the famed early couturiers Charles James and Cristóbal Balenciaga, who was known for his uncompromising belief in his own vision as well as the monastic atmosphere of his studio.
"I am delighted and honored to join Lanvin, a house founded by a visionary woman who, among the first French couturiers, dared to offer a global universe with a very wide field of expression," Sialelli said via official press release on Monday.
In fact, when you're part of that elite group dubbed the A-list, couturiers around the world will fight to clothe you in custom duds, wagering that the press they'll receive for doing so will be well worth forgoing their usual astronomical price tag.
The couturiers may no longer be living, but each left behind hundreds of opinionated, character-filled interviews (and, in some cases, autobiographies), making it possible for her to invent tailor-made questions about their challenges and creative processes and then provide answers in their recorded words.
"As far as we are concerned, the present system is still valid," Ralph Toledano, president of Fédération Française de la Couture du Prêt-à-Porter des Couturiers et des Créateurs de Mode in France, told WWD last February, as the buzz around in-season presentations started gaining traction.
Indeed, after the Gvasalias decided to move their fashion show from October to July to give the collection more time on the sales floor, the Fédération Française de la Couture, du Prêt à Porter des Couturiers et des Créateurs de Mode offered them a slot on the couture calendar.
"Chanel was the first couturier to create costumes for the stage," said Philippe Noisette, the curator of "Couturiers de la Danse," an exhibition that continues through May 3 at the Centre National du Costume de Scène, or National Theatrical Costume Museum, here in the Auvergne region of France.
Between the World Wars, she designed clothes that were an escape for women, as opposed to the other couturiers of her time who thought fashion should reflect the Interwar period of significant political and social change, like Christian Dior's firm New Look or the stereotypically feminine designs of Jeanne Lanvin.
The allure of a dress made famous by Audrey Hepburn in 1967 (or Jane Birkin, another Rabanne muse), and Dossena's remaking of it today, goes to show that Rabanne — much like other fashion houses, and especially French couturiers — wasn't so much ahead of his time as his designs were timeless.
Instead, the character is a work of fiction, an apparent amalgamation of numerous traits of various couturiers: Woodcock's imperious sister Cyril (played by Lesley Manville) helms the business — a nod to real-life couture counterparts in 1950s London, such as Victor Stiebel and Norman Hartnell, whose sisters managed their lines.
"I want to empower [women], and make them look beautiful, that is the most important thing in the fashion industry," said Saverio, one of two Indonesian designers who are part of the Asian Couture Federation, a not-for-profit organization that aims to support and promote Asian couturiers and the Asian fashion industry.
The last time I saw Azzedine Alaïa, the Tunisian-French designer who died this past weekend and was possibly the last of the great couturiers, it was midnight on a Wednesday in October, after the final ready-to-wear shows in Paris, and I had come down to his kitchen to say goodbye.
When the designer Azzedine Alaïa, the last of the great couturiers, a man who could make a dress from sketch to stitch, died unexpectedly in November of a heart attack, the fashion world was first shocked and then deeply saddened — and then preoccupied by the inevitable question: What would happen to the brand?
It is made-to-measure clothing produced to the highest possible standards, by teams of specialist craftspeople — and it is extraordinarily expensive, ranging from around $50,000 to $200,000 per outfit, according to Pascal Morand, the executive president of the Fédération Française de la Couture, du Prêt-à-Porter des couturiers et des Créateurs de Mode, the governing body of French fashion.
The Chambre syndicale also recognizes foreign grands couturiers who do not show in Paris, referring to them as "membres correspondants".
The Christian Dior Ready-to-Wear collection is showcased biannually for spring-summer and autumn-winter seasons during Paris Fashion Week to an audience of media, retailers, buyers, investors, and customers, under the auspices of the Chambre Syndicale du Prêt- à-Porter des Couturiers et des Créateurs de Mode, which is one of three trade associations affiliated with the Fédération française de la couture, du prêt- à-porter des couturiers et des créateurs de mode.
In 1945, at the age of 34, Carven opened her fashion house on the Champs-Élysées. The name Carven combined Carmen, her given name, with the last name of her aunt Josy Boyriven, who introduced her to couture. The 5'1" Carven focused her line on petite women, "because [she] was too short to wear the creations of the top couturiers, who only ever showed their designs on towering girls." Carven soon became known as "the smallest of big couturiers.
The Valentino Ready-to-Wear collection is a showcased biannually collection for spring-summer and autumn-winter seasons during Paris Fashion Week to an audience of media, retailers, buyers, investors, and customers, under the auspices of the Chambre Syndicale du Prêt-à-Porter des Couturiers et des Créateurs de Mode, which is one of three trade associations affiliated with the Fédération française de la couture, du prêt-à-porter des couturiers et des créateurs de mode.
Beside official members, the Chambre syndicale officially "invites" each season some "guests." They cannot use the term "haute couture" but only the term "couture" and can become grands couturiers after 2 years.
A grand couturier is a member of the French Chambre syndicale de la haute couture, part of the Fédération française de la couture, du prêt-à-porter des couturiers et des créateurs de mode.
L'Officiel was first published in 1921, the same year as Vogue. It was the official publication of the Chambre Syndicale de la Couture Parisienne, a trade body representing all Paris couturiers, and took over the role of Les Elégances Parisiennes, a joint publication of a group of about twenty-five couturiers which became defunct in 1922. L'Officiel was a professional trade magazine, directed principally at international buyers of high fashion, both corporate and individual, and at those working in the fashion industry. The director was Max Bruhne, and the chief editor Yves- Georges Prade.
Madeleine Vramant was a member of the Chambre Syndicale de la Haute Couture and one of only a few couturiers that kept their fashion house open during World War II, along with Jacques Fath, Maggy Rouff, Nina Ricci and Marcel Rochas.
Tall, stiff collars characterize the period, as do women's broad hats and full "Gibson Girl" hairstyles. A new, columnar silhouette introduced by the couturiers of Paris late in the decade signaled the approaching abandonment of the corset as an indispensable garment.
This is a list of notable fashion designers sorted by nationality. It includes designers of haute couture and ready-to-wear. For haute couture only, see the list of grands couturiers. For footwear designers, see the list of footwear designers.
Poiret also devised the first outfit which women could put on without the help of a maid. The Art Deco movement began to emerge at this time and its influence was evident in the designs of many couturiers of the time. Simple felt hats, turbans, and clouds of tulle replaced the styles of headgear popular in the 19th century. It is also notable that the first real fashion shows were organized during this period, by Jeanne Paquin, one of the first female couturiers, who was also the first Parisian couturier to open foreign branches in London, Buenos Aires, and Madrid.
Vargas Ochagavía was a Spanish haute couture firm made up by couturiers Jesús Vargas (1913-n.a.) and Emilio Ochagavía (1922-1996). The firm opened in 1946, presented its first collection in 1948 and was running until 1987. It was a member of the until 1970.
The cutting edge of fashion took form in the pages of The Eye with the active participation of couturiers Sally Beers, Animal X, Betsey Johnson, Manic Panic, Natasha, Patricia Field, Trash and Vaudeville and many others from the South Bronx to the Lower East Side.
Original data: Archives électorales: Electeurs 1891. Doeuillet became one of France's best known Couturiers along with his peers Louise Chéruit, Jeanne Paquin, Paul Poiret, Redfern & Sons and the House of Charles Worth.TROY, N. J. (2003). Couture culture: A study in modern art and fashion. p. 188.
Perfume Legends: French Feminine Fragrances. Levallois: HM Éditions, 1996. Print. Over the course of six years, Edwards interviewed some 150 perfumers, couturiers, bottle designers, and industry executives, while gaining unprecedented access to private and corporate archives. The resulting book was titled Perfume Legends: French Feminine Fragrances.
In 2009, Barbie celebrated her 50th birthday. The celebrations included a runway show in New York for the Mercedes-Benz Fashion Week. The event showcased fashions contributed by fifty well-known haute couturiers including Diane von Fürstenberg, Vera Wang, Calvin Klein, Bob Mackie, and Christian Louboutin.
Antoine Raspal, The Couturiers workshop, c.1785, Musée Réattu, Arles, France Antoine Raspal (14 November 1738 - 30 September 1811) was a French painter. Raspal was born and died in Arles. He was a friend and colleague of Guillaume de Barrême de Châteaufort, whose lover Catharine was Antoine's sister.
Mackintoshes have traditionally been made from rubberized cloth. Latex rubber as a clothing material is common in fetish fashion and among BDSM practitioners, and is often seen worn at fetish clubs. Latex is sometimes also used by couturiers for its dramatic appearance. Latex clothing tends to be skin-tight.
The French fashion industry was an important economic and cultural force in Paris when World War II began. There were 70 registered couture houses in Paris, and many other smaller designers. The war had a severe impact on the industry. Couturiers and buyers fled occupied France or closed their businesses.
He summed up the changes since the Orange Revolution: "Ukraine reminds me of a flower unfolding its petals before my very eyes."Olena Holub (2006). French couturiers travel to Ukraine in search of inspiration. day.kyiv.ua. A re-edit of his classic "le 69" bag was relaunched by Comme des Garçons.
Graham Smith (born 19 January 1938 in Bexley) is a milliner from Kent, England. Beginning his career at a time when hats were an everyday essential for fashionable women, he worked with leading couturiers in Paris and London, later establishing his own brand and also working with mainstream fashion brands such as Kangol.
Piguet was born in Yverdon-les-Bains in Switzerland, in 1898, according to the Swiss Fashion Museum, the Musée suisse de la Mode, which holds his archives, although many other sources give an alternative birth year of 1901. In Paris Couturiers and Milliners, published in 1949, Piguet is said to have been 17 in 1918.
Wasteland has about 6,000–8,000 visitors, over 40 acts and more than five stages every year. Besides fetish performances, there are DJs (deephouse music, house music and disco), VJs, cinema and fashion shows by couturiers. The event is currently held in the Northseavenue. Wasteland held its first edition outside of the Netherlands in 2011.
In 1990, Sexton left Savile Row to set up in Knightsbridge, alongside couturiers Caroline Charles and Bruce Oldfield . Sexton continues to operate, by appointment only, from a studio on Beauchamp Place, producing bespoke tailoring for both men and women. Bespoke shirts and an exclusive selection of accessories for his customers offer a complete Sexton 'look'.
Portrait of Ralph Toledano Ralph Toledano (born 27 September 1951, Casablanca, Morocco) is a French-Moroccan businessman. He is president of the Puig group’s fashion division; president of the Fédération française de la Couture, du Prêt à Porter des Couturiers et des Créateurs de Mode; and president of the Chambre Syndicale de la Haute Couture.
The Fédération française de la couture, du prêt-à-porter des couturiers et des créateurs de mode () is the governing body for the French fashion industry. The Federation was created in 1973, growing out of an older trade association (which still exists within the Federation), the Chambre syndicale de la haute couture parisienne which was created in 1868.
In the late 1940s and 1950s non-American designers began to pay attention to sportswear, and attempted to produce collections following its principle. French couturiers including Dior and Fath simplified their designs for ready-to-wear production, but at first only the Italian designers understood the sportswear principle.da Cruz, Elyssa. "Made in Italy: Italian Fashion from 1950 to Now".
Two years after his arrival, he brought Phoebe Philo on board as artistic director. Toledano remained head of Chloé until 2010. From 2011-2012 Mr. Toledano was chairman of St. John. He was president of the Chambre Syndicale du Prêt à Porter des Couturiers et des Créateurs de Mode from 2003-2008 and from 2012-2014.
Deneve plays an active role in developing the economic and creative growth of the fashion and luxury goods sector. Since May 2012, he has been a member of the Executive Committee of the Fédération Française de la Couture, du Prêt-à-Porter des Couturiers et des Créateurs de Mode (English: French Federation of Fashion and of Ready-to-Wear of Couturiers and Fashion Designers), as well as a jury member for the ANDAM Fashion Awards. In 2008 he was elected member of the board of the Comité Colbert, the French luxury goods association, and was subsequently re-elected in June 2012. In addition to his activities in the fashion and luxury goods industry, Paul Deneve is also an advisor to several Silicon Valley start-ups and a Sloan Fellow at Stanford University.
The Fashion Group International, Paris In 1963 Irina was the Advisor for Fashion Lift, a tour of US Fashion Industry of European Couturiers. Cartan Travel Bureau, Inc. 1963 Fashion Lift Among the rare quality images are those by renowned photographer David Lees (1918–2004), of Irina and Irina Roublon gowns and outfits in Florence, Italy, in the years 1951–1955.
In the early 1910s, the house's designs were often illustrated in Gazette du Bon Ton along with six other leading Paris couturiers – Cheruit, Doeuillet, Doucet, Paquin, Poiret, and Worth. In 1916 Redfern created the first officially designated women's uniform for the Red Cross. The Paris headquarters of Redfern closed in 1932, briefly reopened in 1936, and closed again in 1940.
Indian saree made from chiffon fabric, inspired by the evening dresses of Hollywood starlets. Throughout the 1930s and early 1940s, a second influence vied with Paris couturiers as a wellspring for ideas: the American cinema.Ewing, Elizabeth: History of 20th Century Fashion, London, 1974, p. 97, 1997 revised edition, As Hollywood movies gained their popularities, general public idolized movie stars as their role models.
The cast, including Angel Locsin and Piolo Pascual, trained for weeks in horseback riding at the Manila Polo Club under the guidance of couturiers Vic Barba and Mikee Cojuangco. The film was shot in Impasug-ong and Malaybalay City, Bukidnon. It was also shot in Darwin, Northern Territory, Australia. The film was retitled from Land Down Under to Love Me Again.
Accessed 8 April 2009 In 2008, he made hats for Marc Jacobs, L'Wren Scott, Basso & Brooke, Comme des Garçons, Giles Deacon, Loewe, Pollini and Walter van Beirendonck, in addition to multiple Galliano collections, four per season for Dior and two under Galliano's own label. Throughout his career he has designed hats for the shows of many other designers and couturiers.
I will be surprised if the couturiers in Rome and Paris between them, produce anything better.’ In the early 1970s, the snooker player Alex Higgins wore a Gilbey outfit whilst playing a match in a packed hall in Bombay. In high temperatures without air conditioning, Higgins found it unsuitable, and "sweated off another eight ounces in weight" with every ball he hit.
In 1946, she publicized the launch of her first perfume by parachuting hundreds of sample bottles across Paris. In 1950, Carven created a collection inspired by Gone with the Wind to coincide with the film's French release. She toured France with the collection, staging fashion shows at movie theaters. In 1950, she became one of the first couturiers to develop prêt-à-porter.
A 1914 advertisement published in The Times listed a number of couturiers with whom Handley-Seymour had agreements to allow her to reproduce their models for her clientele, including Paul Poiret and the Callot Soeurs. Poiret was at that time considered one of the most avant-garde and daring couturiers, meaning that Handley-Seymour was catering to a clientele who expected to be offered the smartest, most fashionable Paris modes. Many of the gowns provided by Madame Handley-Seymour were co-designed and created by Avis Ford, who started out as an apprentice in the 1910s and eventually became chief designer and fitter. Following the retirement of Handley-Seymour and at the request of Queen Mary, Ford opened her own couture establishment in the early 1940s on Albemarle Street, and continued to provide clothing to the Royal Family.
Marie-Paule married Jean Nolin in 1949, and they had two daughters, Patricia and Marie-Claire. From 1949 to 1955 Marie-Paule worked from home, until in 1955 she relocated her business to an office at 1426 Sherbrooke Street, operating as 'Marie-Paule Haute Couture'. The following year she became President of the Association of Canadian Couturiers (ACC), whose purpose was to promote Canadian high fashion design.
That same year she was retained by Liberty. Collier was appointed as Liberty's design and colour consultant on its London Prints’ fabrics and products in 1971, and had responsibility for its apparel, decorative fabrics and accessory ranges. Collier eventually succeeded Bernard Nevill as design director. Collier became determined to supply wholesale quantities required for couturiers ready-to- wear collection, and do a similar action for furnishings.
Guarrigue-Lefèvre was known for his renaissance age style and designs. He prefers conservative, classical shapes and motifs, and loved to emphasize the human body's natural forms and curves. He advanced into unisex fashions, sometimes experimental, and not always practical. Guarrigue-Lefèvre was one of the first couturiers to turn to Asia, and notably Japan, as a high fashion market when he travelled there in 1990.
She regarded these travels as her "university of life". She travelled through Papua New Guinea, Asia and onto Europe and England. Jackson returned to Sydney in 1972 after working as a dressmaker in London. She visited workshops and collecting the fashions of Parisian couturiers, studying how to cut on the bias, drape and other intricacies of hand-made clothing such as hand-rolled silk hems.
With Warnaco's backing, Kelly designs were soon available in stores throughout the world. That year, his sales approached $7 million. With the support of designer Sonia Rykiel, Kelly was admitted in 1988 to the prestigious Chambre syndicale du prêt-à-porter des couturiers et des créateurs de mode. His young label thus became an official colleague of brands such as Yves Saint Laurent, Chanel and Christian Dior.
Michèle Lamy was born in 1944 in Jura, France, into an Algerian family with a background in the fashion industry. Her grandfather made accessories for one of France's most famous couturiers, Paul Poiret. She studied law, and during the 60s and 70s, worked as a defense lawyer, while studying with the postmodern philosopher Gilles Deleuze. She was involved in the May 1968 protests in Paris.
The house closed every July and August to enable legitimate couturiers such as Chanel and Vionnet to produce their collections. Hawes sometimes visited a couture salon as a legitimate customer and purchased a dress to be copied. At the Ritz, Hawes saw her employers' counterfeit Chanel worn alongside the genuine ones. In January 1926, Hawes became a sketcher for a New York manufacturer of mass-produced clothing.
Robert Thuillier was born in Paris in 1894. From the age of six, he was raised by his mother; she worked for Parisian couturiers, in particular doing hems of shirts. Thuillier accompanied his mother to work and helped her with different tasks. He drew the attention of a master shirtmaker who decided to take the young Thuillier under his wing and taught him to become a master shirtmaker.
The 'alta moda' preferred Rome, the base of the couturiers Valentino, Capucci, and Schön. Capitalizing on the dominant trend of anti-fashion Italy offered a glamor that had nothing to do with the dictates of Parisian haute couture. While profiting from a clearly defined style, Italian fashion was luxurious and easy to wear. The two most influential Italian fashion designers of the time were probably Giorgio Armani and Nino Cerruti.
Three dresses sketched by Augusta Bernard Born in Provence in 1886, Bernard began her career as a dress-maker by copying the designs of other couturiers. After first opening a studio in Biarritz, she moved to Paris in 1922, establishing a studio there the following year. She specialized in creating long, pale- coloured evening dresses, often cut on the bias. In order to achieve asymmetry, the simple, unadorned designs were often put together piecemeal.
The extravagances of the Parisian couturiers came in a variety of shapes, but the most popular silhouette throughout the decade was the tunic over a long underskirt. Early in the period, waistlines were high (just below the bust), echoing the Empire or Directoire styles of the early 19th century. Full, hip length "lampshade" tunics were worn over narrow, draped skirts. By 1914, skirts were widest at the hips and very narrow at the ankle.
Phase II, in 1999 the Heritage Lottery Fund awarded Living Linen a grant for the employment of an oral history researcher to conduct interviews, with all levels of employees. This covered managers, foremen, charge-hands, engineers; spinning, weaving, marketing, bleaching and dyeing firms' employees; machine operatives, cloth inspectors, clerical, bookkeepers, chemical and dye suppliers, mill furnishers, accountants, stores and shops that sold linen, and finally couturiers and fashion designers who used linen.
Patrick Kelly (September 24, 1954 – January 1, 1990) was a celebrated African- American fashion designer who came to fame in France. Among his accomplishments, he was the first American to be admitted to the Chambre syndicale du prêt-à-porter des couturiers et des créateurs de mode, the prestigious governing body of the French ready-to-wear industry. Kelly's designs were noted for their exuberance, humor and references to pop culture and Black folklore.
Peter is now Akris's global CEO, handling management and manufacturing. Peter Kriemler is credited with bringing the Akris collection to Asia with subsidiaries in Japan and Korea, as well as developing the worldwide network of directly operated stores. Since 2004, the Akris collection is shown during Paris fashion week - the only Swiss house in the Fédération française de la couture, du Prêt-à- Porter des Couturiers et des Créateurs de Mode.ecch, the case for learning.
Soon after that Isaeva was relieved of her duties and the position of Editor-in-Chief was occupied by a number of different people until Podgorbunskaya herself took up the role. Podgorbunskaya and Zhanar Mirzazhanova, the Fashion Editor at Harper's Bazaar Kazakhstan, are the only two journalists from Kazakhstan officially accredited by the Fédération française de la couture, by prêt-à-porter des couturiers and by créateurs de mode to the fashion shows in Paris.
His obituaries not only singled out his business acumen but also his good humour. Colin McDowell said that almost uniquely for a personality in the centre of the fashion industry, no journalist ever had a bad word to say about him. He was also held in affection by the British couturiers he promoted. Norman Hartnell used to send Christmas cards bearing the inscription: 'to the cobbler from the Little Woman Round The Corner'.
Three of the most prominent of the Parisian couturiers of the time were Cristóbal Balenciaga, Hubert de Givenchy, and Pierre Balmain. The frugal prince of luxury, Cristóbal Balenciaga Esagri made his fashion debut in the late 1930s. However, it was not until the post-war years that the full scale of the inventiveness of this highly original designer became evident. In 1951, he totally transformed the silhouette, broadening the shoulders and removing the waist.
Fashionable Hollywood actress Louise Brooks After the First World War, a radical change came about in fashion. Bouffant coiffures gave way to short bobs, dresses with long trains gave way to above-the-knee pinafores. Corsets were abandoned and women borrowed their clothes from the male wardrobe and chose to dress like boys. Although, at first, many couturiers were reluctant to adopt the new androgynous style, they embraced them wholeheartedly from around 1925.
The mannequins were tall, fabricated of wire. Some 60 Paris couturiers amongst them Nina Ricci, Balenciaga, Germaine Lecomte, Mad Carpentier, Martial & Armand, Hermès, Philippe & Gaston, Madeleine Vramant, Jeanne Lanvin, Marie-Louise Bruyère, Pierre Balmain. joined and volunteered their scrap materials and labour to create miniature clothes in new styles for the exhibit. Milliners created miniature hats, hairstylists gave the mannequins individual coiffures, and jewellers such as Van Cleef and Arpels and Cartier contributed small necklaces and accessories.
Mamie Eisenhower in her inauguration ball gown designed by Nettie Rosenstein. Painted in 1953 by Thomas Stevens In the 1920s American fashion business, imported fashions by named French couturiers were considered the best to be had. At this time Rosenstein's designs were sold by stores under their own labels, though purchasers were told that the dresses were in fact by Nettie Rosenstein. Through word of mouth Rosenstein earned name recognition and her own-name label became a valuable commodity.
Six other top Paris designers – Georges Doeuillet, Jacques Doucet, Jeanne Paquin, Paul Poiret, Redfern, and the House of Worth – joined the project. Vogel hired leading Art Deco artists to fill the journal's pages with striking illustrations of the designers' fashions along with essays by noted writers.Mary E. Davis, Classic Chic: Music, Fashion, and Modernism (2006). The magazine printed images on fine papers using the expensive pochoir technique, making it a truly exclusive venue for showcasing the couturiers' latest designs.
Unlike local tailoring, if further alterations are required the garment must be shipped. Today, most traveling tailors are from Hong Kong, traveling to the United States, the United Kingdom, France, Australia and Japan. =Economics= There are many gradations within the tailoring industry. The prices charged for genuine bespoke tailoring by Savile Row tailors, like those charged by leading haute couturiers in Paris, are well beyond the budget of most ordinary working people, even those from rich countries.
Along with Amy Linker and Jenny, Régny was one of the few French couturiers whose reputation was based on her sporty clothing, rather than other modes. She worked out of her own salon at 11, Rue La Boétie. As an experienced sportswoman and keen golfer, Régny was able to design garments that would meet the requirements of her clientele. She was assisted by her husband, who helped her develop a signature textile print for Alcot Fabrics in 1928.
In 1973, he designed the backdrop of a presentation by five American designers (including Halston) to five French couturiers at Versailles. Due to a botched conversion from imperial to metric units, the drapery they were to use came out short. He famously remedied the situation by adding a white paper strip and sketching the Eiffel Tower with black stove paint and a broom. He was to remain at Halston as a creative director for most of the 70s.
Chanel is a privately held French company founded in 1909 by Gabrielle Bonheur Chanel, a former milliner. The Chanel ready-to-wear collection is showcased biannually for spring-summer and autumn-winter seasons during Paris Fashion Week to an audience of media, retailers, buyers, investors, and customers, under the auspices of the Chambre Syndicale du Prêt-à-Porter des Couturiers et des Créateurs de Mode, which is one of three trade associations affiliated with the Fédération française de la couture, du prêt-à-porter des couturiers et des créateurs de mode. The House of Chanel is known for liberating women from the corset in the early 20th century and designing fluid, jersey pieces, most notably the little black dress. Chanel died in 1971, Karl Lagerfeld served as Creative Director from 1983 until his death in 2019. Virginie Viard, Karl Lagerfeld’s longtime collaborator for more than three decades, succeeded him as Creative Director. Viard has a background in costume design and presented her first solo collection in May 2019 for Chanel’s Cruise 2020 Collection.
The museum owns 800 paintings and drawings by Jacques Réattu. Twelve exhibition rooms are dedicated to his own works, his collections (mainly 17th century paintings), as well as works by friends, relatives and collaborators, like The Couturiers workshop painted by his uncle Antoine Raspal in the 1780s. Three rooms are dedicated to Picasso and one room to photography.Arles Tourism Office: Museums The collections also include contemporary sculptures by César, Richier, Bourdelle, Zadkine and modern paintings by Dufy, Vlaminck and Prassinos, among others.
Hawes and Johnson arrived at Cherbourg on July 14, 1925, and moved into a pension in Paris. Johnson's mother arranged for Hawes to work at her dressmaker's on the Faubourg St Honoré, a shop where high quality, illegal copies of haute couture dresses by the leading couturiers were manufactured and sold. It boasted that it never copied a couture dress without actually having had the original in hand. There Hawes sold clothing to non-French- speaking Americans and tried to secure new customers.
When he was a teenager, the Marchioness de Casa Torres, the foremost noblewoman in his town, became his customer and patron. She sent him to Madrid, where he was formally trained in tailoring. Balenciaga is notable as one of the few couturiers in fashion history who could not only use his own hands to create, but pattern, cut, and sew the designs which symbolized the height of his artistry. Balenciaga was successful during his early career as a designer in Spain.
John Lennon and Yoko Ono"John Lennon, Where are You?". Esquire (November 1980) frequented the shop, as did Andy Warhol and his "superstars", including Baby Jane Holzer,Vogue (June 1976) Nico, Viva and Edie Sedgwick. In the Chicago Tribune in 1966, photographer and chronicler of fashion Bill Cunningham reported that "Even top designers of Paris rush down to Limbo as soon as they arrive in New York." Hubert de Givenchy,Vogue (February 15, 1966) Halston, Courrèges, and other couturiers frequented the store.
Born to a family of couturiers in Rome, Italy, Susanna Perini was already exposed to sartorial craftsmanship since a very young age. After finishing her bachelor's degree, Perini took up photography and went to Bali, Indonesia, for an assignment by weekly magazine IO Donna. The young Italian was inspired by the culture of the tropical island, from the various ceremonies to the details related to the customs and traditional clothing pieces. She made Bali home and married American designer Paul Ropp there.
He was elected president of the Fédération française de la Couture, du Prêt à Porter des Couturiers et des Créateurs de Mode on July 1, 2014 and holds the position since then.French Federation Reelects Ralph Toledano as President. He was re- elected as President of the Chambre Syndicale de la Haute Couture on November 12, 2015.Ralph Toledano, l’instinct mode Le FigaroRalph Toledano nommé Président de la Fédération française de la Couture Vogue In 2018 he was appointed Chairman of Victoria Beckham Ltd.
Her solo agenda was announced in 2006, shortly after the announcement of her second pregnancy. Letizia has performed a couple of audiences and her work focuses on social issues such as children rights, culture, and education. In late 2007, her solo agenda started to grow in the quantity of events she performed by herself and Felipe's and Letizia's agendas became more distinct and separate. Letizia supported Spanish designers, from couturiers such as Felipe Varela and Lorenzo Caprile to Zara and Mango, and continues to as queen consort.
9a The 1890s Gaiety Girls were polite, well-behaved young women, respectable and elegant, unlike the corseted actresses from the earlier burlesques. They became a popular attraction and a symbol of ideal womanhood. Many of the best-known London couturiers designed costumes for stage productions by the 1890s, particularly for the Gaiety Girls. The illustrated periodicals were eager to publish photographs of the actresses in the latest stage hits, and so the theatre became an excellent way for clothiers to publicise their latest fashions.
Gilbert's burly frame and gruff voice made him a good comic villain, and within the year he was working consistently for producer Roach. He appeared in support of Roach's comedy stars Laurel and Hardy, Charley Chase, Thelma Todd, and Our Gang. One of his Laurel and Hardy appearances was the 1932 Academy Award-winning featurette The Music Box. Gilbert generally played blustery tough guys in the Roach comedies, but could play other comic characters, from fey couturiers to pompous radio announcers to roaring drunks.
The Villoncos, together with the De Leon and Navoa families originally ran LVN Pictures. The name of the film studio is an acronym which represents the three families (De Leon, Villonco and Navoa). Premieres were held in this venue when movie stars were dressed by famous couturiers, sometimes dressed up the characters they were portrayed in the movie. The actors and actresses were transported to the theater by a new air-conditioned bus owned by Sampaguita Pictures causing heavy traffic build- up on nearby roads.
Lesser, or newer, couturiers hired casuals by the hour and often dressed them in their most eccentric costumes to attract attention, while some wore the insignia of the designers on their backs like sandwich-board bearers while they circulated alone. Milliners did not shy from wearing their own creations. The ‘fashionables’ were another class of model; well-known personalities known as ‘amphibians’, ‘jockeys’ or ‘society consultants’ who, while their celebrity lasted, wore the great designers latest creations sold to them at huge discounts or loaned free.
The rise of the Artistic Dress movement made loose clothing and the natural waist fashionable even for evening wear. Couturiers such as Fortuny and Poiret designed exotic, alluring costumes in pleated or draped silks, calculated to reveal slim, youthful bodies. If one didn't have such a body, new undergarments, the brassiere and the girdle, promised to give the illusion of one. Corsets were no longer fashionable, but they entered the underworld of the fetish, along with items such as bondage gear and vinyl catsuits.
On 12 May 1909, Haas-Heye married with Viktoria Ada Astrid Agnes, Countess of Eulenburg, the youngest daughter of Philipp, Prince of Eulenburg, and a godchild of Augusta Victoria of Schleswig-Holstein. This gave him access to European aristocracy. The couple went to Great Britain in 1910 and from 1912 to 1914 they lived in London and Paris. Together they had three children: , Ottora Maria, and Libertas, (see entry 8d) During his stay in France, Haas-Heye became acquainted with many couturiers, including Paul Poiret.
John B. Fairchild, who became the European bureau chief of Fairchild Publications in 1955 and the publisher of WWD in 1960, improved WWD's standing by focusing on the human side of fashion. He turned his newspaper's attention to the social scene of fashion designers and their clients, and helped manufacture a "cult of celebrity" around designers. Fairchild also played hardball to help his circulation. After two couturiers forbade press coverage until one month after buyers had seen their clothes, Fairchild published photos and sketches anyway.
The waistline was restored, hemlines dropped to nearly ankle-length, there was renewed appreciation of the bust, and backless evening gowns, and soft, slim-fitting day dresses became popular. The female body was remodeled into a more neo-classical shape, and slim, toned, and athletic bodies came into vogue. The fashion for outdoor activities stimulated couturiers to manufacture what would today be referred to as "sportswear." The term "ready-to-wear" was not yet widely in use, but the boutiques described such clothes as being "for sport".
Balenciaga is also notable as one of the few couturiers in fashion history who could use their own hands to design, cut, and sew the models which symbolized the height of his artistry. Hubert de Givenchy opened his first couture house in 1952 and created a sensation with his separates, which could be mixed and matched at will. Most renowned was his Bettina blouse made from shirting, which was named after his top model. Soon, boutiques were opened in Rome, Zurich, and Buenos Aires.
In 1942 Adrian established Adrian, Ltd., at 233 North Beverly Drive, Beverly Hills, in the building formerly occupied by the Victor Hugo restaurant. (He had been courted by retailers to design for public sale but rebuffed those offers. In 1932 Macy's Cinema Shop had copied his work with the studio's tacit approval, much in the same way that department stores produced so-called "Paris fashions," which were unapproved copies of French couturiers' works.) Adrian's fashion line filled the gap left by Paris, which could not export during the German occupation.
Inspired by Carnegie designer Norman Norell, he shifted into designing and in 1952 moved to Paris, where he made sketches for various couturiers, including Jacques Fath. During this period he met James Galanos, who suggested he start his own line. In 1956 Tassell set up shop in Los Angeles and soon became "one of the stalwarts of the apparel industry," said Ilse Metchek, president of the California Fashion Assn. By 1958 Tassell was hosting his first show in a cramped workroom on Sunset Boulevard and within a few days had more than $20,000 in orders.
He supplied embroidered, beaded or sequined theatrical costumes for various venues like the opera, the Comédie-Française' theater and Parisian revues such as the Folies Bergère or Moulin Rouge. He also worked for master couturiers like Edward Molyneux or Worth.(fr) Art et décoration : revue mensuelle d'art moderne Gallica, French Archives, Pages 93 to 96 In 1924, he started creating objects and furniture in stately neoclassical style, and completed his first tapestry. In 1928, he opened a new office dedicated to interior decoration on rue Pierre Charron in Paris.
Mona von Bismarck (née Strader; February 5, 1897 – July 10, 1983), also known as Mona Bismarck, was an American socialite, fashion icon and philanthropist. Her five husbands included Harrison Williams, among the richest men in America, and Count Albrecht Eduard "Eddie" von Bismarck-Schönhausen, a grandson of German Chancellor Otto von Bismarck. She was the first American to be named "The Best Dressed Woman in the World" by a panel of top couturiers, including Coco Chanel, and she was also named to the International Best Dressed List Hall of Fame.
In common with other London couturiers, Lachasse participated in a variety of export drives – especially for the American market. Its tailored suits had some success internationally, especially after the Wall Street Crash, when many American buyers looked to London rather than Paris for fashions because of its lower prices. In 1936, The Times reported a small fashion show held in New York to mark the arrival of the Queen Mary, at which Lachasse showed Scottish tweeds. Its new blue and red tweed was described as one of the "novelties".
Zika Ascher was responsible for introducing hand-tufted mohair fabrics into haute couture in 1957. At the time, textile houses such as Ascher would present biannual collections of fabrics to the couturiers, who would then choose their fabrics from what was on offer. The first to use Ascher Mohair was Antonio del Castillo ,for the French fashion house Lanvin- Castillo's Autumn-Winter collection that year. Ascher's hand-tufted mohair fabrics continued to be much in demand for several years, and were featured for instance in the Balenciaga Autumn–Winter collection of 1964.
Mattli was among the earliest members of IncSoc and, in common with other major London couturiers, was involved in promoting British fashion designed around utility principles during and immediately after the war. Once the strictures of rationing were relaxed, IncSoc set out to promote its role, and that of British couture as a rival to Paris. One of Mattli's outfits – an elegant silk cocktail gown – was included in the fashion show sequence in the popular 1949 comedy Maytime in Mayfair. He shared premises in Knightsbridge with fellow IncSoc member Charles Creed after the war.
London couturiers were kept busy creating gowns for debutantes and society matrons in the run up to the 1953 coronation of Queen Elizabeth and Mattli was among the so-called "big ten" designers photographed for lavish feature in Life. As Vogue highlighted, Mattli was perhaps more at home creating practical and wearable fashion focusing on understated fine detailing. His autumn 1952 collection – singled out by one fashion commentator as one of the best of the season – included traditional Donegal tweed coats and slimline afternoon and cocktail dreses in bouclé wool, silk jersey and lace.
On the third day of their journey, the other man died, and Lucas is said to have had to cut off the man's arm to free himself from the chains. He was brought to France, where he learned to cut fur for the couturiers. He eventually immigrated to New York in the early 1920s. Premice and her sister, Adele, were given the education and training of an "at-home finishing school" and treated like part of the elite, at a time when African Americans were treated as second-class citizens, even in the northern states.
From a young age, Hawes described herself as having believed in the "French legend" that "All beautiful clothes are designed in the houses of the French couturiers and all women want them."Hawes, Fashion Is Spinach, ch 24 Her mother's wedding trousseau came from Paris, and her grandmother annually travelled to Paris, bringing dresses back for her grandchildren. When Hawes began designing and making her own clothes, she referred to Vogue and Harper's Bazaar. The prevalence of Paris and French fashion in these magazines reinforced the impression that only French fashion was worthy of attention.
An American newspaper reviewing A Gaiety Girl in 1894 explained the importance of the Gaiety Girls: "The piece is a mixture of pretty girls, English humor, singing, dancing and bathing machines and dresses of the English fashion. The dancing is a special feature of the performance, English burlesques giving much more attention to that feature of their attractiveness than the American entertainments of the same grade do."The Brooklyn Daily Eagle, Sunday, 23 December 1894, p.9a. Many of the best-known London couturiers designed costumes for stage productions by the 1890s.
From 1925 to 1927, Daura and Gustavo Cochet, an Argentine artist, designed and made batik material for couturiers, until fire destroyed their studio and business. In the 1920s, Daura frequently exhibited with the group Agrupacio d'Artistes Catalans, usually in Barcelona.Catalunya Graphica Catalogue; Folder 4, Box 1, Pierre Daura Exhibitions and Catalogues Agrupacio; Folder 5, Box1, Pierre Daura Exhibitions; Pierre Daura Archive, Georgia Museum of Art, University of Georgia. In 1922 and 1926Salon d'Atomne Catalogue Book; Folder 6, Box 1, Pierre Daura Exhibitions; Pierre Daura Archive, Georgia Museum of Art, University of Georgia.
Briefly, between 2006 and 2007, Kokosalaki was the first creative director of the relaunched Vionnet fashion house. Although Kokosalaki cites Madeleine Vionnet as one of her favourite historical couturiers, and her work was well-received, she was ultimately disappointed by the experience, and left after two collections to focus on her own label. Her style often featured classic Grecian draping combined with hand-crafted elements. While Kokosalaki was particularly known for draped, softly flowing dresses, her designs could also be architectural and heavily textured, and she worked in leather and tougher fabrics as well.
Edward Rayne expanded the Rayne business in the early 1960s, beginning an association with Genesco in the United States and also buying a 49 per cent stake in the British company of John Plant and its subsidiary Butlers. Rayne still designed shoes himself – his ebony brown patent leather design was mentioned in a Times report about the autumn fashion show of IncSoc members. Rayne was, by then both chair and associate member of the group of elite London couturiers. He was appointed a member of the Export Council for Europe in 1961.
Lynn Wyatt has appeared in American Vogue (magazine), Harper's Bazaar, Town & Country and W (the high-fashion/social magazine of Fairchild Publications) through the years. She is a friend and patron of couturiers Valentino, Karl Lagerfeld, Emanuel Ungaro, Bill Blass, Jean Paul Gaultier and others. She was inducted into the International Best Dressed List Hall of Fame in 1977. In 1982 the Government of France honored her with admission to the prestigious Order of Arts and Letters, rank of Chevalier, for her significant contribution to the enrichment of the French cultural inheritance.
Though the spring couture season took place amidst the financial crisis, the couture shows appeared generally unaffected by the economic downturn. In the words of fashion journalist Cathy Horyn, "The economic crisis doesn't really scare the people who still practice haute couture, that small, vanishing world of embroiderers, dyers and feathermakers who serve the imagination of the few remaining couturiers." The market for couture clothing is very small, however, with only a few hundred customers worldwide; the most popular pieces in any collection generally selling “no more than three per continent.” Couture is generally unaffected by recessions because of their ultra-wealthy clientele.
The Art Deco movement began to emerge at this time and its influence was evident in the designs of many couturiers of the time. Simple felt hats, turbans, and clouds of tulle replaced the styles of headgear popular in the 1900s (decade). It is also notable that the first real fashion shows were organized during this period in time, by the first female couturier, Jeanne Paquin, who was also the second Parisian couturier to open foreign branches in London, Buenos Aires, and Madrid. Two of the most influential fashion designers of the time were Jacques Doucet and Mariano Fortuny.
Zika Ascher's significant influence on the collections of major couturiers, such as Christian Dior, Cristóbal Balenciaga and Yves Saint Laurent, is cited in The Vogue History of Twentieth-Century Fashion by Jane Mulvagh (London: Viking Penguin, 1988). Christian Dior referred to Ascher as "Mr Rose Pompom" after Ascher designed a beautiful rose-printed fabric in the 1950s, and used it extensively in the summer Haute Couture collection by Dior. Apollo magazine London published a six-page monograph on Ascher in 1987. His work was displayed at the first major retrospective of Balenciaga's work at the Silk Museum in Lyons 1986.
Unwilling to send a teenager so far away, McCardell's father convinced her to enroll in the home economics program at Hood College instead. After two years of study in Maryland, McCardell moved to New York and enrolled in Parsons (then known as the New York School of Fine and Applied Art). In 1927, McCardell went to Paris, continuing her studies at the Parsons branch school at the Place des Vosges. In Paris, McCardell and her classmates were able to purchases samples by couturiers such as Madeleine Vionnet that they took apart in order to study their structure.
By the mid 1950s, Saint-Cyr's reputation as a milliner was so great that reproductions of her Paris originals were created under licence, alongside those of leading couturiers such as Cristóbal Balenciaga. As well as designing for Norman Hartnell in London, she was producing models for Paris fashion houses such as Dessès. In London, her designs appeared at the fashion shows of the Incorporated Society of London Fashion Designers. At the fashion show for autumn 1959, for example, she showed a line of high-crowned hats – many in velvet – to complement Hartnell's two-colour tweed suits and fur-trimmed and fur-collared coats.
Stephen Jones OBE (born 1957) is a leading British milliner based in London, who is considered one of the world's most radical and important milliners of the late 20th and early 21st centuries. He is also one of the most prolific, having created hats for the catwalk shows of many leading couturiers and fashion designers, such as John Galliano at Dior and Vivienne Westwood.Hats: An Anthology microsite on the V&A; Museum website, accessed 1 April 2009 His work is known for its inventiveness and high level of technical expertise.Stephen Jones spiral hat in the V&A; collections online database.
It was general practice for couture houses to use professional artists to execute drawings of designs as they were being created, as well as of the artist's own ideas for each season's output and for individual clients. These drawings were overseen by Lucy Duff-Gordon, who often critiqued them, adding notes, instructions, dates, and sometimes her own signature or initials, indicating she approved the design. Like many couturiers, Lucy Duff-Gordon designed principally on the human form. Her surviving personal sketchbooks indicate her limited technical ability as a sketch artist, but a skill at recording colour.
The changing of fashion was unthinkable, so the use of different trimmings was all that distinguished clothing from one season to the next. Conspicuous waste and conspicuous consumption defined the fashions of the decade and the outfits of the couturiers of the time were extravagant, ornate, and painstakingly made. The curvaceous S-Bend silhouette dominated fashion up until around 1908. The S-Bend corset thrust the chest forward into the mono-bosom, and, with the aid of padding, judicious placement of trim in clothing, and, most especially, a particular posture entirely independent of the corset, created the illusion of an "S" silhouette.
Among Diéterle's descendants are many artists, including his daughter, Marguerite Diéterle, who married from Châtel-Censoir, painter and director of the Gobelins and Beauvais manufacturies. His great-grandson Hubert de Givenchy is one of the most important couturiers of the 20th century. Another of his children is the draughtsman, painter and architect, Georges Diéterle (1844–1937), and one of Jules Diéterle's granddaughters is Yvonne Diéterle (1882–1974), sculptor and painter, wife of Jean-Pierre Laurens, also a painter. His other son was Charles Diéterle (1847-1933), a painter, husband of Marie Van Marcke de Lummen called Marie Diéterle (1856-1935), a painter..
Kritharioti is pinpointed in UK Vanity Fair as one of six couturiers to watch worldwide: "Beautifully feminine and embellished concoctions from this couturier to the stars", noted Annabel Davison, Senior Editor at Vanity Fair on Jewellery and Couture. Supporters include Jennifer Lopez, Lady Gaga, Paula Patton, Kim Kardashian, Kelly Rutherford, Miranda Lambert, Samantha Barks, Maria Menounos, Giuliana Rancic, Gemma Arterton. Gwyneth Paltrow was photographed for Vogue Mexico in Celia Kritharioti Haute Couture. Natalia Vodianova, Naomi Campbell, Iman, Gisele Bündchen, Laetitia Casta, Claudia Schiffer, Elle Macpherson and Karolina Kurková are top models who have worked with her. She was appointed to design the “Olympic Air personnel costumes”.
Lachasse was a British couture firm operating from 1928 until 2006, making it one of the longest surviving high fashion houses in London. Part of the Incorporated Society of London Fashion Designers (IncSoc), it is notable for being a major training ground for British couturiers, numbering Digby Morton, Hardy Amies, and Michael Donnellan among its chief designers. Later it would train further designers, with names such as Stephen Jones and John Galliano passing through the couture house as trainees on their way to successful solo careers.Jones, Stephen, A Personal View, for During the heydey of couture, Lachasse's customers included Princess Marina and Countess Mountbatten.
The magazine, published on fine paper, signed exclusive contracts with seven of Paris' top couture houses – Cheruit, Doeuillet, Doucet, Paquin, Poiret, Redfern, and Worth – to reproduce in luscious pochoir the designers' latest creations. After World War I, a select group of other design firms were added to the magazine's repertoire, including the houses of Beer, Lanvin, Patou and Martial & Armand. However, the editors' choice of designers was arbitrary, and a number of the era's most prominent couturiers never contributed to the pages of the Gazette du Bon Ton, among them Chanel and Lucile. The magazine's title was derived from the French concept of bon ton, or timeless good taste and refinement.
The Mechanical forms – machine models including gears, pumps and regulators – are industrial tools used to demonstrate basic movements of modern machinery. Sugimoto began working on this series as a response to The Bride Stripped Bare By Her Bachelors, Even (The Large Glass) by Marcel Duchamp. Hiroshi Sugimoto: Conceptual Forms, April 7 – May 28, 2005 Gagosian Gallery, London. For the series Stylized Sculpture (2007), Sugimoto selected distinctive garments by celebrated couturiers from the collection of the Kyoto Costume Institute, shot in chiaroscuro on headless mannequins—from Madeleine Vionnet’s precociously modern T-dress and Balenciaga’s wasp-waisted billowing ensemble to Yves St Laurent’s strict geometric Mondrian shift and Issey Miyake’s sail-like slip.
Madame Louise Chéruit (1866-1955), born Louise Lemaire, often erroneously called Mme Madeleine Chéruit, was among the foremost couturiers of her generation, and one of the first women to control a major French fashion house.Childs Gallery, Paul César Helleu: "Madame Chéruit" (1900), commentary about a portrait, downloaded 31 March 2012 Her salon operated in the Place Vendôme in Paris under the name Chéruit () from 1906 to 1935. Chéruit is best remembered today as the subject of a number of portraits by Paul César Helleu, with whom she conducted an affair before opening her couture house Richard Dormant, ed., James McNeill Whistler (1995), p. 276.
Giorgini had planned to present 18 models from 10 Italian fashion houses. The Italian couturiers who presented at the show were: Princess Giovanna Caracciolo of Atelier Carosa, Alberto Fabiani, Duchess Simonetta Colonna di Cesaro Visconti of Simonetta, Emilio Schuberth, Sorelle Fontana, Jole Veneziani, Vanna (the trade name used by the tailors Anna Carmeli and Manette Valente), Vita Noberasko, and Germana Marucelli. The prêt- à-porter designers were Emilio Pucci, Giorgio Avolio, Baroness Clarette Gallotti of La Tessitrice Dell'Isola, and Marquise Olga di Grésy of Mirsa. Giorgini's resourcefulness, the quality of the products, the buyers' reputation, and the support of some journalists like Irene Brin, who as Italian editor for Harper's Bazaar advertised the event overseas, decreed its success.
His work was described as looking like it had been made by couturiers such as Dior and Balenciaga. Grace Kelly wore one of his coat and dress ensembles in 1956 when she arrived in Monaco to marry Prince Rainier, and proudly wore the same coat nine years later whilst pregnant with her youngest child. When Jacqueline Kennedy became First Lady of the United States, she consulted with Diana Vreeland to get names of all-American designers who would be appropriately patriotic choices to dress her for her role. After considering the request, particularly Kennedy's request for designers who could reproduce Paris-style elegance, Vreeland recommended Zuckerman alongside Norman Norell, and the sportswear designer Stella Sloat.
The Neiman Marcus Award for Distinguished Service in the Field of Fashion was a yearly award created in 1938 by Carrie Marcus Neiman and Stanley Marcus. Unlike the Coty Award, it was not limited to American-based fashion designers. Recipients of the Neiman Marcus Awards include couturiers, non-American-based designers, journalists, manufacturers, and celebrities and style icons who had had a significant personal influence upon fashion such as Grace Kelly and Grace Mirabella.Company history on Neiman Marcus' official website, accessed March 22, 2009 The award was typically presented to multiple recipients each year, rather than to a single individual, although Adrian was the sole winner in 1943, a feat repeated in 1957 by Coco Chanel.
In 1925 Jean Hébert-Stevens and Pauline Paugniez opened a workshop where glaziers and painters shared projects, inspired by the Ateliers d'Art Sacré initiated by Maurice Denis (1919). It was Marguerite Huré who signed for the execution of the glasswork designed by Maurice Denis and Pierre (Marie-Alain) Couturier for the church in Le Raincy in 1923. Jean Barrilet, around the same time was responsible for the creation of the workshop "The artisans of the altar".(Danièle Doumont, 2003 -ref below) One seems to better understand the spiritual appeal of the artisans -of Father Couturiers message- when one concentrates on the symbolism of the cohesive function of the soul in multicolored illumination, a central feature in traditional artwork.
The review concluded: "It was a collection for 1970, entirely relevant to now – no nonsense about the twenties, the thirties nor the fifties." Donnellan was well placed to understand the move towards ready-to-wear – especially since he had been working with Marks & Spencer – and had begun including a few readymade items within his own couture shows from 1968, getting them cut and sewn in his Carlos Place workroom and charging around half the price of his couture lines. Donnellan closed Michael of Carlos Place in 1971; his obituary notes that he didn't blame the market or the times for this, instead citing the shortage of skilled tailors available to British couturiers.
She transformed Malacañang social events into impeccable opportunities for displaying simplicity, elegance, punctuality and cordiality. Dr. Eva Macapagal was known for wearing the national dress whenever she had a chance to do so. She had a number of elegant ternos as well as maria claras for very formal occasions or state functions, but preferred to wear the patadyong kimona for its simplicity and for ease of movement. Eva favored a handful of Filipino couturiers, including Pitoy Moreno, who adhered to her style of simple but elegant lines. Among Eva's projects as First Lady was the promotion of a locally-made, affordable and durable textile called the “Pag-asa cloth,” with prices within the reach of the daily wage earners.
Sportswear originally described activewear: clothing made specifically for sport. Part of the evolution of sportswear was triggered by 19th-century developments in female activewear, such as early bathing or cycling costumes, which demanded shorter skirts, bloomers, and other specific garments to enable mobility, whilst sports such as tennis or croquet could be played in barely-modified conventional dress. One of the first couturiers to specialise in sports- specific clothing was the British John Redfern who in the 1870s began designing tailored garments for increasingly active women who rode, played tennis, went yachting, and did archery. Redfern's clothes, although intended for specific sporting pursuits, were adopted as everyday wear by his clients, making him probably the first sportswear designer.
TsUM, 23 May 2014 TsUM is the largest fashion department store in Eastern Europe. It carries more than 1000 brands of apparel, a perfumery and jewelry, as well as “TsUM Globus Gourmet”, a fusion restaurant, a cigar room, a café, and champagne bar “Veuve Clicquot”. TsUM seasonal collections have been supported by advertising campaigns featuring fashion stars Cindy Crawford, Milla Jovovich, Naomi Campbell, Daria Werbowy, Malgosia Bela, and Mathias Lauridsen. Notable couturiers Roland Mouret, Ralph Rucci, Carolina Herrera, Dennis Basso, Michael Kors and Victoria Beckham have participated in TsUM events, introducing their newest collections to TsUM clients in person. TsUM offers clients additional services, including VIP shopping and professional stylists’ advice, cosmetic procedures and lectures on modern art.
Royale's renaissance came after the Second World War. Encouraged by the post-war revival of Brighton and Nice, in 1950 Royale-les- Eaux was identified as a potential source of revenue by a Paris syndicate which invested funds on behalf of exiled Vichyites. The Casino, the public gardens and the two main hotels were refurbished and Paris jewellers and couturiers were given rent-free sites on which to establish branches. For the year in which the events of Casino Royale take place, the Société des Bains de Mer de Royale has succeeded in securing bookings from "a considerable number of the biggest operators in America and Europe", and leased some of the baccarat tables to a group of Egyptians, the Mahomet Ali Syndicate.
Clothing businesses that struggled to remain open had to deal with extreme shortages of cloth, thread, and other sewing supplies. The occupying Germans intended to displace Paris with Berlin as a centre of European fashion design. The Nazi regime planned to turn Berlin and Vienna into the centres of European couture, with head offices there and an official administration, introducing subsidies for German clothing makers, and demanding that important people in the French fashion industry be sent to Germany to establish a dressmaking school there. Couture's place in France's economy was key to this plan: an exported dress made by one of France's leading couturiers was said to be worth "ten tonnes of coal", and a litre of fine French perfume was worth "two tonnes of petrol".
Her husband and his sisters, Jacqueline and Bethsabée, had been raised at the Château de Ferrières in the country outside of Paris. Seized by the Germans during the occupation of France in World War II, the château remained empty until 1959 when the newlywed Rothschilds decided to reopen it. Marie-Hélène took charge of refurbishing the huge château, making it a place where European nobility mingled with musicians, artists, fashion designers and Hollywood movie stars at grand soirées. Much talked about for the lavish and creative theme balls and charity fundraisers she organized both in Paris and New York, in 1973, she brought together five French couturiers and five American designers for a fashion show at the Théâtre Gabriel in the Château de Versailles.
The design studio of Norman Hartnell source: IWMPeter Russell dinner gown, produced during wartime for IncSoc and photographed by the Ministry of Information to promote the idea that utility could be incorporated into couture source: IWM Elspeth Champcommunal design for Worth London, produced under wartime restrictions source: IWM Incorporated Society of London Fashion Designers (also known as IncSoc, Inc Soc and ISFLD) was a membership organisation founded in 1942 to promote the British fashion and textile industry and create luxury couture to sell abroad for the war effort. It aimed to build the relationship between government and fashion industry and represent the interests of London couturiers. The organisation continued after the war and sought to present itself as an alternative to the revived Paris couture industry.
Notable literary figures lecturing at the Alliance have included Simone de Beauvoir, André Maurois, Jean Giraudoux, Michel Butor, Philippe Claudel (Prix Renaudot), Nobel Laureate J.M.G. LeClézio, François Nourissier, who later became President of the Académie Goncourt, and the philosophers Henri Bergson, Jacques Maritain and former Justice Minister Robert Badinter. Professors from the Sorbonne and other distinguished French universities have given lectures in their areas of expertise at a number of Alliance events over the years. The Alliance has been fortunate to host couturiers such as Pierre Balmain and Hubert de Givenchy. The performing arts have been well represented with appearances by Sarah Bernhardt, Edith Piaf, Margot Fonteyn, Rudolf Nureyev, Maurice Chevalier, Marcel Marceau, George Balanchine, Yul Brynner, Maria Callas, Régine Crespin, Sean Connery and Audrey Hepburn.
Sharp added: "A basket of market produce pinned on the head would have much the same effect. For next to the difficulty of finding the head of the wearer underneath the hat of to-day comes the difficulty of finding hat shape under the trimming of to-day". A 1907 article in the American edition of Vogue had predicted that the future of hats was: "in size colossal" and, two years on, the magazine suggested that the growing popularity of photography had inspired many of these new millinery designs, as couturiers were exposed to images from other cultures and countries. The inspiration for the peach basket millinery design was said to be the oversized styles worn by women of the Congo.
Hendrik Meyer-Vermeulen (born Hendrik Mentz Vermeulen, 7 April 1982) is a South African Couturier and fashion designer, specialising in Haute Couture and Corsetry as well as a singer-songwriter performing under stage name Joh Urban. In 2009 Hendrik Vermeulen launches his label Hendrik Vermeulen Couture having previously worked as fashion designer and chef d’atelier for renowned South African Couturiers, such as Gert van de Merwe. In 2012, he legalises his business by creating his own company: Hendrik Vermeulen Couture Pty Ltd in the city of Cape Town, South Africa. He took charges of the creative and financial side of the business as Creative Director and placed his husband Jean-Daniel Meyer-Vermeulen at the head of the company as General Manager.
Bates was also famous for having designed mini-coats and dresses and other outfits for Emma Peel (played by Diana Rigg) in the TV series The Avengers, although the manufacturers blocked his request for patterned tights to enable Emma Peel to fight in skirts if necessary. An alternative origin story for the miniskirt came from Barbara Hulanicki of the London boutique Biba, who recalled that in 1966 she received a delivery of stretchy jersey skirts that had shrunk drastically in transit. Much to her surprise, the ten-inch long garments rapidly sold out. In 1967 Rudi Gernreich was among the first American designers to offer miniskirts, in the face of strongly worded censure and criticism from American couturiers James Galanos and Norman Norell.
Referencing one of the costumes, Toybina said she enjoys adding depth to them: "The Kitty isn't just a cat, she is a vintage burlesque-style diva with all of the hand beading, feathers, and even headdress that you would expect from that." As production time is limited, there is no opportunity for the team to experiment with different materials—"all garments are... cut right away on the original fabric". Since "the draping and the handwork ... [are] all done the old school way", she cited couturiers such as Alexander McQueen, Thierry Mugler, and Hussein Chalayan as inspirations. 3D printing was used for the first tme in the fourth season, and the first two-person costume, the first with animatronics, and the first puppet costume were featured.
Paris designers such as Elsa Schiaparelli and Lucien Lelong acknowledged the impact of film costumes on their work. LeLong said "We, the couturiers, can no longer live without the cinema any more than the cinema can live without us. We corroborate each others' instinct.Quoted in LaValley, "Hollywood and Seventh Avenue" The 1890s leg-o-mutton sleeves designed by Walter Plunkett for Irene Dunne in 1931's Cimarron helped to launch the broad-shouldered look,LaValley, "Hollywood and Seventh Avenue", in Hollywood and History: Costume Design in Film and Adrian's little velvet hat worn tipped over one eye by Greta Garbo in Romance (1930) became the "Empress Eugénie hat ... Universally copied in a wide price range, it influenced how women wore their hats for the rest of the decade.
Their modernist style, informed by both the vitality of the revolutionary art movements of the era, and by the flat planes and minimalism identified with Japanese painting served to revitalize the popularity of the fashion plate. These fashion plates were hand colored using the pochoir process, whereby stencils and metal plates are used allowing for colors to be built up and gradually nuanced according to the artist’s vision. The fashion plate, in use for some time, was in essence an advertising tool—a piece of artwork used to create desire for the newest clothing looks aimed at an audience of the fashionable and moneyed. Iribe’s work is primarily distinguished by the illustrations he executed for style journals such as La Gazette du Bon Ton where his charming vignettes of the latest modes helped promote the designs of couturiers such as Paul Poiret.
Michael Donnellan was born in Dublin and trained as a surgeon before making the move from medicine to fashion. After wartime service, he joined the fashion house of Lachasse as chief designer – he was named head of its operation from 1941. In this role at Lachasse, he was following in the footsteps of two other great London couturiers – Digby Morton and Hardy Amies. Although he was attached to a large and respected fashion house, he was already a name in his own right – Michael of Lachasse – and was included among London's "big 10" in a feature in Life in 1953 about the run up to the coronation of Elizabeth II. He was skilled at spotting nascent fashion looks and was the first to work with the British 'supermodel' Avril James – refining her style and making her his early design 'muse'.
Chicago Tribune declared that many Paris dressmakers were considering a fashion revolution to bring dress into line with the new period-piece hats; it was being whispered, said the paper's Paris correspondent Bettina Bedwell, that bustles and crinolines might be revived. By August of that year, it was reported that a new era of prosperity might be at hand for the garment industry. "Hat and women's wear manufacturers predicted today it would alleviate for a time at least, economic depression in their industries". It was suggested that, for the first time in history, fashion designers were following the lead of milliners who had: "made women wear the hats in defiance of the styles in frocks, with the result that the couturiers have had to fall quickly in line and rush through styles to go with the hats".
While the young Queen Elizabeth II was the fashion role model for most New Zealand women of the 1950s, Gus Fisher instead looked to Paris for influence. He travelled there every year to see first-hand the new designs and fabrics and to experience the mood and feel of the fashion trends. For his own fashion label, El Jay, he interpreted French Couture and created his own version of uncluttered European elegance making it available to women here. This commitment to experiencing the real thing led to not just a keen awareness of the latest trends but also to the establishment of relationships with the Paris couturiers which in turn led to El Jay becoming the New Zealand licensee for Christian Dior, giving it the exclusive rights to manufacture and sell Christian Dior originals and Christian Dior prêt-à-porter in the New Zealand market.
Through his success, Rami Al Ali goes beyond fashion to support his life passion and brand DNA dedicated to art and uplifting women. Since 2017, Al Ali honors his commitment to the next generation of young couturiers with his mentoring program at the prestigious ESMOD Fashion Institute in Dubai, providing the opportunity for Undergraduates to develop their own capsule collection through an internship at the Rami Al Ali atelier. In 2019, The designer took part of the non-profit organization Atassi Foundation exhibition in Dubai that aimed to shed light on the early beginning of the women’s art movement in Syria, emphasizing the immense role female artists played in shaping the nation’s art scene. Al Ali is also collaborating with Dubai Design & Fashion Council (DDFC) as a Mentor to help elevating local and regional talent in the Emirate and support the development of a sustainable industry.
Many of the best-known London couturiers designed costumes for stage productions. The illustrated periodicals were eager to publish photographs of the actresses in the latest stage hits, and so the theatre became an excellent way for clothiers to publicise their latest fashions. The Gaiety Girls were, as The Sketch noted in its 1896 review of The Geisha, "clothed in accordance with the very latest and most extreme modes of the moment, and the result is a piquantly striking contrast, as you may imagine."Information about the famous costume designs of the musicals The next musical for the Hall, Greenbank and Jones team moved from Japan to Ancient Rome, with A Greek Slave. The Geisha was also an immediate success abroad, with an 1896–97 production in New York at Daly's Theatre (starring Dorothy Morton, replaced by Nancy McIntosh in November),Brown, Thomas Allston.
While magazines like Les Modes published careful portraits, most hand-coloured, of high society women in outfits designed by the renowned couturiers, the daily newspapers like Le Figaro and Le Gaulois had been running pictures in their late editions taken, like Steichen’s, of women at the racetracks,Xavier Demange, ‘Trend Setters at the Racetrack’, in Sylvie Aubenas and Xavier Demange, Elegance: the Séeberger Brothers and the Birth of Fashion Photography, San Francisco: Chronicle Books, 2007, 28-37.Rosser, E. (2010). Photographing Fashion: a critical look at The Sartorialist. Image & Narrative, 11(4), 158-170. and their approach was taken up by the magazine Femina, in an effort to satisfy the curiosity among their readership about what was fashionable in ‘real clothing’, a trend soon picked up by Paris Illustré or La Nouvelle Mode that from 1901-1902 featured snapshots taken by obscure amateurs Carle de Mazibourg or Edmond Cordonnier, though these were soon displaced by more professional images.
A contemporary press piece in 1968 ranked Khanh and Bailly alongside Michèle Rosier as part of a "new race" of young designers, described as "stylists who work for ready-to-wear." These French ready-to-wear designers were called créateurs. In 1971, Khanh and the London-based Ossie Clark were the first members of a new fashion group, Créateurs et Industriels, founded by the manufacturer Didier Grumbach as a means of bringing together innovative ready-to-wear designers from around the world (including Issey Miyake and Thierry Mugler) with manufacturers prepared to promote their originality. The group was eventually absorbed by the Chambre Syndicale de la Haute Couture who realised that such original and creative ready-to-wear was more profitable and widely marketable than haute couture, and created its own equivalent group, also supervised by Grumbach, the Fédération Française de la Couture, du Prêt-à-Porter des Couturiers et des Créateurs de Mode.

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