Haute Couture

Haute couture

Haute couture (French for "high sewing" or "high dressmaking"; pronounced ) refers to the creation of exclusive custom-fitted clothing. Haute couture is made to order for a specific customer, and it is usually made from high-quality, expensive fabric and sewn with extreme attention to detail and finish, often using time-consuming, hand-executed techniques.

It originally referred to Englishman Charles Frederick Worth's work, produced in Paris in the mid-nineteenth century. In modern France, haute couture is a "protected name" that can be used only by firms that meet certain well-defined standards. However, the term is also used loosely to describe all high-fashion custom-fitted clothing, whether it is produced in Paris or in other fashion capitals such as Milan, London, Rome, New York and Tokyo.

In France, the term haute couture is protected by law and is defined by the Chambre de commerce et d'industrie de Paris based in Paris, France. Their rules state that only "those companies mentioned on the list drawn up each year by a commission domiciled at the Ministry for Industry are entitled to avail themselves" of the label haute couture. The criteria for haute couture were established in 1945 and updated in 1992.

However, the term haute couture may have been misused by ready-to-wear brands since the late 1980s, so that its true meaning may have become blurred with that of prêt-à-porter (the French term for ready-to-wear fashion) in the public perception. Every haute couture house also markets prêt-à-porter collections, which typically deliver a higher return on investment than their custom clothing. In fact, much of the haute couture displayed at fashion shows today is rarely sold; it is created to enhance the prestige of the house. Falling revenues have forced a few couture houses to abandon their less profitable couture division and concentrate solely on the less prestigious prêt-à-porter. These houses, such as Italian designer Roberto Capucci, all of whom have their workshops in Italy, are no longer considered haute couture.

Many top designer fashion houses, such as Chanel, use the word for some of their special collections. These collections are often not for sale or they are very difficult to purchase. Sometimes, "haute couture" doesn't mean just creation of new models of cloth wear, but it's also a type of fine art, like any other ones, as sculpture, painting, music and more. Moreover, "haute couture" can even include all of the mentioned components.

In the 2008 Spring/Summer Haute Couture week, Guest members included Eymeric François, Gérald Watelet, Nicolas Le Cauchois and On aura tout vu. In the 2008/2009 Fall/Winter Haute Couture week, Emanuel Ungaro showed as an Official Member and WU YONG as a Guest member.

French leadership in European fashion may perhaps be dated from the 18th century, when the art, architecture, music, and fashions of the French court at Versailles were imitated across Europe. Visitors to Paris brought back clothing that was then copied by local dressmakers. Stylish women also ordered fashion dolls dressed in the latest Parisian fashion to serve as models.

As railroads and steamships made European travel easier, it was increasingly common for wealthy women to travel to Paris to shop for clothing and accessories. French fitters and dressmakers were commonly thought to be the best in Europe, and real Parisian garments were considered better than local imitations.

The couturier Charles Frederick Worth (October 13, 1826–March 10, 1895), is widely considered the father of haute couture as it is known today. Although born in Bourne, Lincolnshire, England, Worth made his mark in the French fashion industry. Revolutionizing how dressmaking had been previously perceived, Worth made it so the dressmaker became the artist of garnishment: a fashion designer. While he created one-of-a-kind designs to please some of his titled or wealthy customers, he is best known for preparing a portfolio of designs that were shown on live models at the House of Worth. Clients selected one model, specified colors and fabrics, and had a duplicate garment tailor-made in Worth's workshop. Worth combined individual tailoring with a standardization more characteristic of the ready-to-wear clothing industry, which was also developing during this period.

Following in Worth's footsteps were Callot Soeurs, Patou, Poiret, Vionnet, Fortuny, Lanvin, Chanel, Mainbocher, Schiaparelli, Balenciaga, and Dior. Some of these fashion houses still exist today, under the leadership of modern designers.

In the 1960s a group of young designers who had trained under men like Dior and Balenciaga left these established couture houses and opened their own establishments. The most successful of these young designers were Yves Saint Laurent, Pierre Cardin, André Courrèges, and Emanuel Ungaro. Japanese native and Paris-based Hanae Mori was also successful in establishing her own line.

Lacroix is perhaps the most successful of the fashion houses to have been started in the late 20th century. Other new houses have included Jean-Paul Gaultier and Thierry Mugler.

For all these fashion houses, custom clothing is no longer the main source of income, often costing much more than it earns through direct sales; it only adds the aura of fashion to their ventures in ready-to-wear clothing and related luxury products such as shoes and perfumes, and licensing ventures that earn greater returns for the company. Excessive commercialization and profit-making can be damaging, however. Cardin, for example, licensed with abandon in the 1980s and his name lost most of its fashionable cachet when anyone could buy Cardin luggage at a discount store.

The 1960s also featured a revolt against established fashion standards by mods, rockers, and hippies, as well as an increasing internationalization of the fashion scene. Jet travel had spawned a jet set that partied—and shopped—just as happily in New York as in Paris. Rich women no longer felt that a Paris dress was necessarily better than one sewn elsewhere. While Paris is still pre-eminent in the fashion world, it is no longer the sole arbiter of fashion.

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Fashion

Fashion refers to the styles and customs prevalent at a given time. In its most common usage, "fashion" exemplifies the appearances of clothing, but the term encompasses more. Many fashions are popular in many cultures at any given time. Important is the idea that the course of design and fashion will change more rapidly than the culture as a whole.

The terms "fashionable" and "unfashionable" were employed to describe whether someone or something fits in with the current or even not so current, popular mode of expression. The term "fashion" is frequently used in a positive sense, as a synonym for glamour, beauty and style. In this sense, fashions are a sort of communal art, through which a culture examines its notions of beauty and goodness. The term "fashion" is also sometimes used in a negative sense, as a synonym for fads and trends, and materialism. A number of cities are recognized as global fashion centers and are recognized for their fashion weeks, where designers exhibit their new clothing collections to audiences. These cities are Paris, Milan, New York, and London. Other cities, mainly Los Angeles, Berlin, Tokyo, Rome, Miami, Hong Kong, São Paulo, Sydney, Barcelona, Amsterdam, Madrid, Montreal, Mumbai, Vienna, Auckland, Moscow, New Delhi, San Juan, Stockholm, Turin and Dubai also hold fashion weeks and are better recognized every year.

Of these fields, costume especially has become so linked in the public eye with the term "fashion" that the more general term "costume" has mostly been relegated to only mean fancy dress or masquerade wear, while the term "fashion" means clothing generally, and the study of it. This linguistic switch is due to the so-called fashion plates which were produced during the Industrial Revolution, showing novel ways to use new textiles. For a broad cross-cultural look at clothing and its place in society, refer to the entries for clothing, costume and fabrics. The remainder of this article deals with clothing fashions in the Western world.

The habit of people continually changing the style of clothing worn, which is now worldwide, at least among urban populations, is generally held by historians to be a distinctively Western one. At other periods in Ancient Rome and other cultures changes in costume occurred, often at times of economic or social change, but then a long period without large changes followed. In 8th century Cordoba, Spain, Ziryab, a famous musician - a star in modern terms - is said to have introduced sophisticated clothing styles based on seasonal and daily timings from his native Baghdad and his own inspiration.

The beginnings of the habit in Europe of continual and increasingly rapid change in styles can be fairly clearly dated to the middle of the 14th century, to which historians including James Laver and Fernand Braudel date the start of Western fashion in clothing. The most dramatic manifestation was a sudden drastic shortening and tightening of the male over-garment, from calf-length to barely covering the buttocks, sometimes accompanied with stuffing on the chest to look bigger. This created the distinctive Western male outline of a tailored top worn over leggings or trousers which is still with us today.

Though colors and patterns of textiles changed from year to year, the cut of a gentleman's coat and the length of his waistcoat, or the pattern to which a lady's dress was cut changed more slowly. Men's fashions largely derived from military models, and changes in a European male silhouette are galvanized in theatres of European war, where gentleman officers had opportunities to make notes of foreign styles: an example is the "Steinkirk" cravat or necktie.

The pace of change picked up in the 1780s with the increased publication of French engravings that showed the latest Paris styles; though there had been distribution of dressed dolls from France as patterns since the 16th century, and Abraham Bosse had produced engravings of fashion from the 1620s. By 1800, all Western Europeans were dressing alike (or thought they were): local variation became first a sign of provincial culture, and then a badge of the conservative peasant.

Although tailors and dressmakers were no doubt responsible for many innovations before, and the textile industry certainly led many trends, the history of fashion design is normally taken to date from 1858, when the English-born Charles Frederick Worth opened the first true haute couture house in Paris. Since then the professional designer has become a progressively more dominant figure, despite the origins of many fashions in street fashion.

Modern Westerners have a wide choice available in the selection of their clothes. What a person chooses to wear can reflect that person's personality or likes. When people who have cultural status start to wear new or different clothes a fashion trend may start. People who like or respect them may start to wear clothes of a similar style.

Fashions may vary considerably within a society according to age, social class, generation, occupation, and geography as well as over time. If, for example, an older person dresses according to the fashion of young people, he or she may look ridiculous in the eyes of both young and older people. The terms fashionista or fashion victim refer to someone who slavishly follows the current fashions. A new term originated in the USA during the economic difficulties of 2008: recessionista combining the words recession and fashionista. Recessionista may be defined as: a person who strives to remain fashionable on a minimal budget.

Fashion, by description, changes constantly. The changes are more rapidly in other aspects like the fields of human activity (language, thought, etc). For some, modern fast-paced changes in fashion embody many of the negative aspects of capitalism: it results in waste and encourages people qua consumers to buy things unnecessarily. Other people enjoy the diversity that changing fashion can apparently provide, seeing the constant change as a way to satisfy their desire to experience "new" and "interesting" things. Note too that fashion can change to enforce uniformity, as in the case where so-called Mao suits became the national uniform of mainland China.

In the past, new discoveries and lesser-known parts of the world could provide an impetus to change fashions based on the exotic: Europe in the eighteenth or nineteenth centuries, for example, might favor things Turkish at one time, things Chinese at another, and things Japanese at a third. Globalization has reduced the options of exotic novelty in more recent times, and has seen the introduction of non-Western wear into the Western world.

Fashion houses and their associated fashion designers, as well as high-status consumers (including celebrities), appear to have some role in determining the rates and directions of fashion change. The impact of this influence depends on many things like economic status.

An important part of fashion is fashion journalism. Editorial critique and commentary can be found in magazines, newspapers, on television, fashion websites, social networks and in fashion blogs.

At the beginning of the 20th century, fashion magazines began to include photographs and became even more influential than in the past. In cities throughout the world these magazines were greatly sought-after and had a profound effect on public taste. Talented illustrators drew exquisite fashion plates for the publications which covered the most recent developments in fashion and beauty. Perhaps the most famous of these magazines was La Gazette du Bon Ton which was founded in 1912 by Lucien Vogel and regularly published until 1925 (with the exception of the war years).

Vogue, founded in the US in 1902, has been the longest-lasting and most successful of the hundreds of fashion magazines that have come and gone. Increasing affluence after World War II and, most importantly, the advent of cheap colour printing in the 1960s led to a huge boost in its sales, and heavy coverage of fashion in mainstream women's magazines - followed by men's magazines from the 1990s. Haute couture designers followed the trend by starting the ready-to-wear and perfume lines, heavily advertised in the magazines, that now dwarf their original couture businesses. Television coverage began in the 1950s with small fashion features. In the 1960s and 1970s, fashion segments on various entertainment shows became more frequent, and by the 1980s, dedicated fashion shows like FashionTelevision started to appear. Despite television and increasing internet coverage, including fashion blogs, press coverage remains the most important form of publicity in the eyes of the industry.

Within the fashion industry, intellectual property is not enforced as it is within the film industry and music industry. To "take inspiration" from others' designs contributes to the fashion industry's ability to establish clothing trends. Enticing consumers to buy clothing by establishing new trends is, some have argued, a key component of the industry's success. Intellectual property rules that interfere with the process of trend-making would, on this view, be counter-productive.

In 2005, the World Intellectual Property Organization (WIPO) held a conference calling for stricter intellectual property enforcement within the fashion industry to better protect small and medium businesses and promote competitiveness within the textile and clothing industries.

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John Galliano's Spring-Summer 2004 Haute Couture collection

John Galliano's Spring-Summer 2004 Haute Couture collection for Christian Dior was themed to his then recent travels to Egypt, clearly representative of the ethnic influences which often shine in his works.

The more conservative of John Galliano's apparel shown on January 19, 2004 in Paris, included leopard-print fur stoles with collars that "soar like obelisks", billowing gowns of shadow-dyed organza, with hems twisted and folded into lotus flower shapes, and pyramid-shaped gowns made of dozens of golden mirrors, and printed with hieroglyphics, or the glamorous mummies paraded in bandages of black silk tulle flashing with rainbow sequins. Many wore Nefertiti-like crowns, or long Egyptian "goatees". The models wore breast-plates of turquoise, coral, silver and gold, and earrings the size of "eagles' eggs".

Some of the more brilliant examples of flawless tailoring was shown in the golden or blue snakeskin sheaths, worn by models "walking like Egyptians". These models wore elegantly carved and polished wood masks, of Tutenkhamun, or gods like Horus, a falcon, Bast, a cat, or most brilliantly, Anubis, a jackal. The masks were made by London milliner Stephen Jones.

All models were outfitted in corsets, making the models more desirably cat-like, linking to the Egyptian theme.

Models in the show included Britain's Erin O'Connor, Sudan-born Alek Wek and the Czech Karolína Kurková.

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Christian Lacroix

Christian Marie Marc Lacroix (May 16, 1951 in Arles, France) is a high-end French fashion designer. Born in Arles, France, at a young age he began sketching historical costumes and fashions. He studied history of art at the University of Montpellier and then enrolled at the Sorbonne in Paris. While working on a dissertation on dress in French 18th-century painting, Lacroix also pursued a program in museum studies at the Louvre Museum. In 1978 he joined the French firm Hermès, where he worked on color schemes and the execution of designs.

From 1981 to 1987 Lacroix worked at the fashion house of Jean Patou, and in 1987 he opened his own couture and ready-to-wear business. With his background in historical costume and clothing, Lacroix soon made headlines with his opulent, fantasy creations, including the short puffball skirt (“le pouf”), rose prints, and low décolleté necklines. He quoted widely from other styles—from fashion history (the corset and the crinoline), from folklore, and from many parts of the world—and he mixed his quotations in a topsy-turvy manner. He favored the hot colors of the Mediterranean region, a hodgepodge of patterns, and experimental fabrics, sometimes handwoven in local workshops.

Christian Lacroix was born May 16,1951. In early childhood, Lacroix (pronounced "laˌkʁwa") attended bullfighting events and enjoyed Gypsy and Provencal traditions as well. Some time afterwards his family moved to Arles, a city in the south of France, in the Bouches-du-Rhône department. It was the city of southern culture, with breathtaking views and expansive tempers. There was a yearly carnival during Easter, when people and women especially put on their brightest, best clothes, which combined old vintage dresses with laces, modern high heels and hats. Maybe that was the source and inspiration of the Lacroix's fashion vision. He spent time at art museums and enjoyed reading books from the attic. In his youth, he also took a liking to Oscar Wilde and the Beatles. In 1969 he graduated from high school and moved to Montpellier, to study Art History at the University of Montpellier. After studying , he went on to the Sorbonne and the Ecole du Louvre in 1973. His aspiration during this time was to become a museum curator. It was during this time he met his future wife Françoise Rosenthiel, whom he married in 1974.

Around the same time, he met Jean-Jacques Picart. Picart was attributed with several haute couture houses and helped aid in gaining Christian Lacroix a job working at Hermès in 1978 and then Guy Paulin in 1980. After graduating from the École du Louvre, in 1981 he started working at Jean Patou.

With help from Jean-Jacques Picart, Lacroix managed to put out season after season of popular clothing. Bright colors, luxuriance, and perfection made Lacroix and Picart popular designers of the time.

Later, Lacroix would gain the award for "most influential designer" by the CFDA for foreign designer in January 1987.

In 1987 he opened his own couture house. He began putting out ready-to-wear in 1988 drawing inspiration from diverse cultures. Critics commented that he did not seem to understand the type of clothing the working woman needed. In 1989, Lacroix launched jewelry, handbags, shoes, glasses, scarves and ties (along with ready-to-wear). In this same year, he opened boutiques within Paris, Arles, Aix-en-Provence, Toulouse, London, Geneva and Japan.

In 1994, Lacroix launched his Bazar line. His collections during the times of 1994 were based on old culture and folklore, as well as fables and the past. In 1995, he launched a towel line which contained a fashion and lifestyle side, which represent how the two intertwine ("two sides of the same coin").

In 1996, he launched a Jeans line. He included past traditions from all around the world, continuing the line with even more on ethnic arts.

In 1997, the Art de la Table line was launched by him in partnership with Christofle. A licensing agreement was also reached in this year with Pronuptian in which he could launch his Christian Lacroix Mariage line.

In 1999, he launced his first line of floral perfumes, and in 2000 he finished a line of novelty accessories which included semi-precious jewelry.

In 2001, Lacroix also launced a children's line and in 2002, he launched a perfume, Bazar, created by Bertrand Duchaufour, Jean-Claude Ellena and Emilie Copperman.

In 2004, Lacroix launched a lingerie for women line, as well as a menswear line.

He is known for his theatrical style which came from his work while in the theatre. This usually shows up with his use of colour in the collections he designs. Along with this, he is also known for his 'le pouf' gown (featuring the ball skirt), as well as closing all his haute couture fashion shows with a model dressed up as a bride.

In October 2002 after the presentation of his spring/summer 2003 collection, Lacroix resigned from the Chevalier de la Légion d'Honneur by Bernard Arnault, Chairman of LVMH.

He served as the Creative Director for the Italian fashion house Emilio Pucci from 2002-2005. He left on agreeable terms as he and the house believed that since he had other pursuits, it would be unfair to the house to not put in the energy required for future collections along with his other work.

Christian Lacroix has designed many dresses for Hollywood stars; among them, he is responsible for designing the wedding dress of Grammy award winning Christina Aguilera and was, in the 1990s, famed as being a favourite designer of "Edina Monsoon" in the hit UK sitcom Absolutely Fabulous (for which the house drew dubious credit).

He has also been the designer of the new uniform of Air France staff and crew in 2004 and pyjamas signed by him are handed out to passengers travelling on Air France First Class (L'Espace Premier).

Today, Lacroix has 60 points of sale within France (department stores included). Around the world, Lacroix has 1,000 total points of sale.

For Winter 2007, He has partnered with Avon cosmetics to introduce a new fragrance exclusive to Avon called Christian Lacroix Rouge for women and Christian Lacroix Noir for men.

For Summer 2008, he is the guest curator of the Rencontres d'Arles.

Christian Lacroix’s costume designs for the opera, theatre, dance and music can be seen at the exhibition “Christian Lacroix Costumier” at the National Museum of Singapore from March to June 2009.

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