A mini-history — from Charles Frederick Worth to Jean Paul Gaultier.
Less than a week after the end of the highly commented Olympic Games,all eyes are still on Paris — be it with travel fanatics' desire to get a table at the infamous Café de Flore or fashion devotees' preparations for the Paris Fashion Week next month. As fashion has been a prominent feature of this year's games — from the runway in the opening ceremony to the controversy over Team USA's Ralph Lauren uniforms to the Louis Vuitton medal plaques — it's hard to have a conversation about Paris without mentioning fashion and hard to talk about fashion without mentioning Paris. But why?
From Paris Fashion Week closing fashion month with a flourish to numerous high-profile designers being born in France, a few explanations might emerge to account for the city's longstanding relationship with fashion. While these circumstances have undoubtedly contributed to Paris' emergence as the fashion capital of the world, the real catalyst dates back earlier than many might assume.
As far back as the reign of Louis XIV in the 1600s, fashion was part of France's cultural repertoire, from the opulent and extravagant dress code of the royal court — which were significant markers of status and privilege — to the lucrative textile industry that The Sun King boosted. It was during this period that the French sartorial appeal began, with other countries seeking to emulate what France was creating. Its influence became even stronger during the rule of Louis XVI and Marie Antoinette, who was dressed by Rose Bertin, a French fashion designer who has been widely acknowledged by historians as a symbol of Revolutionary clothing excess. But what cemented the city’s status as a fashion capital was the beginnings of haute couture in the mid-19th century.
When English tailor Charles Frederick Worth opened the first couture house, Maison Worth, at 7 Rue la Paix in Paris in 1858, creating custom clothes for high society, a key moment in fashion history was beginning to take shape. Not only were his designs considered visionary, but his use of tags in his creations solidified him as the first couturier who would soon transform the industry forever through branding and thereby popular recognition. By presenting his creations in runway shows with live models, rather than the traditional practice of showing the designs on mannequins to private clients, Worth revolutionized fashion and became known as the father of haute couture.
A decade after its establishment and its triumphant success, the House of Worth founded a syndicate with the main purpose of preventing couture designs from being copied — the Chambre Syndicale de la Couture, des Confectionneurs et des Tailleurs pour Dames et Fillettes, which, with a slight makeover in 1911, was renamed the Chambre Syndicale de la Couture Parisienne.
It was not until 1945 that the term "haute couture" was introduced — with the name changed to Chambre Syndicale de la Haute Couture. The organization acts as a regulatory council that defines which labels can be considered haute couture houses and establishes rules that brands must follow, such as presenting at least two couture collections per year — each with no less than 50 designs — and employing 20 full-time staff.
But in 1945, during the Nazi occupation of Paris, more rigorous requirements were set. Since Hitler recognized Paris' cultural and economic power, the dictator wanted to move the headquarters of the Chambre Syndicale to Berlin, determined to destroy the economy of France. But Lucien Lelong, the president of the Chambre Syndicale, prevented it with another rule: a mandatory location in Le Triangle d'Or — the Golden Triangle — located in the 8th arrondissement between three of the city's most prestigious boulevards: the Avenue des Champs-Élysées, the Avenue Montaigne, and the Avenue George V. By introducing a stringent regulation, Paris' position as the world's leading fashion center was secured.
Despite the prevention of haute couture's relocation to Germany, Paris' social, economic, and political situation was far from favorable.From the anti-Semitic actions of the Nazi army to hunger and intensified propaganda, the life of Parisian civilization was marked by instability and frustration. After the city's liberation by the Allies at the end of the War, habitants who had fled returned. The French capital started to recover economically, attracting clients from overseas while maintaining its status as the pinnacle of luxury in fashion.
While the regulations have gotten stricter across the past 100 years, many labels have come to define the French's capital haute couture scene, such as Schiaparelli, Patou, Lanvin, Poiret, Dior, Fortuny, Balenciaga, Pierre Balmain, and Chanel — the bulk of which still exist today. From Christian Dior to Hubert de Givenchy, various French figures became the bellwethers of couture, exemplifying to the world the finesse of French savoir-faire, be it with the legendary ''New Look'' or sophisticated ball gowns as seen on the likes of celebrities like Grace Kelly and Audrey Hepburn.
As the ‘60s arrived, more renowned couturiers like Yves Saint Laurent, Pierre Cardin, André Courrèges, and Emanuel Ungaro entered the scene. But as the demand for accessibility grew, ready-to-wear started to take over and the importance of haute couture began to decline. With the proliferation of prét-à-porter, global fashion weeks like those in New York, Milan, and Tokyo also began to gain influence. While Paris still had its prestigious reputation, its leading sartorial position seemed to be in jeopardy. In the 1970s and '80s, however, designers such as Thierry Mugler, Jean Paul Gaultier, and Christian Lacroix brought a modern attitude and fresh spirit to the city's fashion that has secured Paris's fashion leadership to this day.
Haute couture may no longer be a major economic factor in fashion, as it still serves the interests of private clients, but it still has a huge impact artistically — in terms of publicity for a label's creative team and clientele. But when it comes to ready-to-wear, the Parisian allure is still vibrant. Considered by many to be the best city of the top four — whether it's for digitally watching the shows of legendary brands or seeing details of pure excellence carried over into everyday life pieces — Paris allows us to see that the tradition of craftsmanship continues to thrive in the city. With a growing number of domestic and international brands basing their ateliers in the French capital, as well as prestigious fashion schools such as Parsons Paris and Studio Bercot growing in size, the city's sartorial influence continues to bloom — as does its fashion-related income. A study carried out by Institut Français de la Mode and Quadrat Etudes shows that French fashion represents €154 billion in direct turnover, a direct and indirect added value of 3.1% of GDP, and generates 1 million jobs in France yearly.
With Fashion Month kicking off in New York on September 6, Paris will soon be on every fashionista's radar — ending the season on a high note. 🌀
Ana Reitz is a Brazilian fashion writer who breathes fashion. As a Latin American fashionista, she values a diverse and inclusive fashion landscape and aims to make a difference in the complex yet beautiful industry that surrounds her. She writes anything fashion-related for her own Substack For Fashion’s Sake.