Christian Dior: Fall 2009 Couture Collection: Style.com
To begin a fresh Summer term at LCF I am studying a unit titled Design and Making which delves deep into the 'behind- the- scene' workings of the fashion industry, from production (ready-to-wear & haute couture) through to marketing and branding and onto selling the garments. Our first lecture focused in on the fascinating yet diminishing production of Haute Couture garments within today's fashion market; an 'art' once epitomising the wardrobes of the fashionable elite, now appearing to fade; in 10 years time the Haute Couture industry might only exist in the fashion history books; it's creations being viewed solely within the glass cabinets of our museums. It is this slow demise of a once lustrous Parisian industry that provoked me to research further into the cultural reasoning behind it's sadly increasing irrelevance within today's fashion industry.
Haute Couture, (simply meaning High Sewing), although recognised as a Parisian industry was originally founded by Englishman Charles Frederick Worth in the mid 19th century who created the renowned Chambre Syndicale de la Haute Couture; a 'club' that only the most reputable, skilled and luxurious creators of fashion could belong, a 'club' that to this day implements strict guidelines to adhere to in order to be branded with the distinguished label of Haute Couture.
1. The fashion house must occupy at least one Atelier within Paris
2. They must employ at least 15 full-time employees within one atelier
3. They must produce a minimum of 50 new and original designs of day and evening wear per collection
4. They must show 2 collections per year
Referring to the Federation Francaise de la Couture, it defines only 11 official members within the Haute Couture circle (found at www.modeaparis.com). In 1946 there were 106 members, in 1952 there were 60 and since then it has declined in numbers to the following designers today;
ADELINE ANDRÉ CHANEL CHRISTIAN DIOR CHRISTIAN LACRO DOMINIQUE SIROP GIVENCHY JEAN PAUL GAULTIER |
Whilst the association does (almost reluctantly) open it's notoriously restrictive doors to correspondent and guest members, of which Valentino and Elie Saab are included, it remains to this day a prestigiously acclaimed yet somewhat dissociated alliance; a reputation which has made the Chambre Syndicale de la Haute Couture what it is today yet one that could ultimately become it's downfall.
During the mid 19th century at the beginning of Worth's couturier career in Paris, upper-class women's roles in society were clearly defined; wife, home-maker, mother and social representative of their spouse. Women were not allowed to vote, sue, own property or deal with financial details; their lives consisted of balls, dinner parties, 'gentle' hobbies and most relevant to this subject, deciding what gown to wear for what occasion. Neither day or evening wear was designed to be practical or comfortable but was a visual extension and representation of their husband's wealth and status in society. Upper-class women were expected to be pure and virtuous which was translated through their clothing. Hems were long and necklines were high but the garments themselves were overtly grand with detailed embroidery, embellishments and using luxurious fabrics- obviously hand made for their measurements by the best couturiers. Comparing the roles of 19th century upper-class women to those of today, I believe, provides one answer to the problem of haute couture's decline. The women of today no longer solely rely on their husbands for money; women are making money and have reached the highs of the business world through their own merits and hard work. Their lives are no longer frivolous and limited which means that a new and more practical wardrobe has to be adorned to suit their roles in modern society. Haute Couture design, as can be seen in the below images, appears to have remained wholly unchanged since the mid 19th century, not transitioning with the practical needs of their clientèle. And the market for red carpet dresses isn't a large one!
Silk Evening Gown 1898-1900 House of Worth and Givenchy Haute Couture S/S 2000 designed by Alexander McQueen
Whether we like it or not, fashion today is about business and money; the Parisian Haute Couture industry (understandably) is desperately clinging onto the romanticized and exclusive reputation of it's history. This introduces the other primary cause of the industry's decline, the global recession. Take the example of Christian Lacroix, once the epitome of Parisian couture who has to abandon his production of exquisite haute couture garments due to financial issues. According to the Guardian, in 22 years Lacroix never turned a profit which is understandable as the average cost of a dress under the haute couture label start at £18,100- a luxury only accessible to the very rich (there are less than 500 buyers of couture worldwide). The figures just don't add up.
Couturier Anne Valerie Hash summed up the financial situation perfectly saying that,
"when their husbands lose millions on the stock exchange, you find that women won't buy 10 dresses, they'll buy 1".
A Stephane Rolland design (seen on the likes of celebrities such as Cheryl Cole and Rhianna and shown in the S/S 10 runway below) takes on average 200 hours to make and prices start at £45,000 but in the recent situation the designer has had to cut his prices by 20% whilst some clients now even pay in instalments. The recession has knocked the wind out of the Haute Couture industry's sails. Even the extremely rich don't feel safe in their wealth any more; media influence has created a frightened society and luxuries will be the first commodity to be crossed of the wish list. But as the world begins to inch it's way out of financial crisis, will there still be a large enough market for this industry to survive or has our society changed beyond the reach of Haute Couture's idealist grasp?
Below is the Spring/Summer 2010 Haute Couture collection from designer Stephane Rolland. A stunning display of the excess and perfection of the industry, even as it struggles to survive.
Written by Fashion LDN
