History of Haute Couture
Haute Couture is a French fashion term which means “high dressmaking” or “high sewing” and designates high fashion women’s clothing that is custom-made and fitted for a particular client, often using expensive, high quality fabrics and featuring intricate, hand sewn details and embellishments.
Haute Couture was invented in France at the end of the 19th century and has felt most at home there ever since. Paris, whose influence in the world of fashion may even go as far back as the court of Louis XIV, still ranks as the capital of haute couture, with its crafts and its almost legendary fashion houses of international renown, its extravagances and its unique design savoir faire. As the proving ground for fashion design and research, Paris continues to inspire and attract designer talents from all over the world. Generation after generation, it breathes new life into haute couture fashion, this luxurious and ephemeral design art which, undoubtedly, must go on evolving if it is to survive.
For more than a century, the high fashion fashion term haute couture has been emblematic of the triumph of costume and fashion design. It represents the fusion of fashion — the modern entity that combines novelty and synergy with personal and social needs — and costume — the arts of dressmaking, tailoring, and crafts constituent to apparel and accessories. Founded in the crucible of modernism’s invention in the middle years of the nineteenth century in Paris, with the expanded patronage cultivated by the House of Worth, but still dependent upon the considerable support of Empress Eugénie, couture has long stood as the modern equilibrium between the garment as exquisite aggregate and the burgeoning notions of fashion as a system.
The persistence of the haute couture is as roundly questioned and doubted and debated as the survival of painting or the supposed death of Broadway. Some may have doubted that the couture would survive its founder, the entrepreneurial Charles Frederick Worth. In the early years of the twentieth century, French fashion designer Paul Poiret took couture into an admittedly dangerous path of change, responding to Orientalist and social sirens, but even more to the beckoning of commerce and the use of the couture as a generating engine for fashion and fragrance broadly disseminated. Ironically, the couture flourished in the postwar period, beginning with the immense popular appeal of Christian Dior’s “New Look” in 1947. This supposed fashion novelty was so successful in part because it knew acutely its history and reconvened the finest skills to the couture.
The couture house is customarily composed of two parts, one devoted to dressmaking (flou), the other devoted to tailoring (tailleur) of suits and coats. Skilled workers in each area practice the arts apposite to the area. Embellishments and accessories are added incrementally as applied decoration, often from sources outside the couture house. However, with regard to the unembellished garment, the modern couture house is a completely autonomous workroom of dedicated ateliers. In fact, surprisingly, in view of the elegant locations of most fashion couture houses, the creation of the garments occurs in the maisons particulières of the house, thus under the daily surveillance of the designer as well as in intimate connection with the vendeuses. Depending upon the fashion designer, the design process might begin either with sketches or with a muslin or toile, draped and cut. Fit, both in its tailored form and in its dressmaking variant, is inevitably part of the value of the couture. A designer or trusted fitter will conduct the client through a series of fittings to determine the minute adjustments of the garment to the individual’s size and sense of comfort.
The couture’s offering of distinction in fashion design and technique remains a compelling force, one even more potent when much other quality has atrophied. It remains a discipline of ultimate imagination, unaccountable to cost, with the paradox of being the fashion most cognizant of its ideal clients. It is, as it began, a dream of quality in an era of industry and its succession. The couture persists in providing us with a paragon of the most beautiful haute couture clothing that can be envisioned and made in any time.
