Why is French Fashion is "the best"? The History of Haute Couture

Paris has been considered the global fashion capital for centuries. So how have they managed to keep this image up through the Industrial Revolution and actual revolutions? Books, articles, videos, and even entire TV series exist entirely based on the achievement of French chic. That unobtainable, laissez-faire attitude, still with perfect taste. A word we don't have an equivalent for in English, let alone a style equivalent. As American designer Elizabeth Hawes wrote, all really beautiful clothes are designed in the houses of the French couturiers, and all women want those clothes. Even today, the majority of major couture brand names are French. But the survival of chic has been more than a little unsteady over the decades. In fact, if not for the actions of a few determined designers over the years, the infamous French chic may never have existed. So how did France become the home of couture? And how did it survive into the modern world? First, we need to understand the term haute couture. Going back to 1675 in France, the women-led sewing trades split off from the tailors. It happened around the same time in England, where women took on the term of manchewa maker, eventually gown maker, then dressmaker. In French, couturier was used, more specifically couturier en habits, for those that made women's clothing. Couture in modern French means to sew. Haute is close to heightened in English, basically just saying an elevated form of sewing. While it makes sense from a literal point of view, the use of haute couture as a phrase actually dates to early 20th century. The differentiation wasn't needed until then, when a sudden surge of low quality knockoffs threatened the reputation of French fashion. Turns out, they were equally concerned with the consequences, both environmental and economical, of filling the market with what we call fast fashion. 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Shop hundreds of brands for a fraction of the price, all in one place. Tap my link to shop my ThredUP faves, and find something special for any occasion. Thanks again to ThredUP for sponsoring this video. If we go back before the 19th century, most famous makers or designers, artists more than the modern type of designer, were working for royalty. Every court had its range of preferred tradespeople and merchants. Rose Berton was one of the most infamous names to survive history. She worked as the marchand de mode for Marie Antoinette. Essentially a stylist, directly a seller of fashion. She didn't make the gowns or accessories worn by the queen, but she did guide those that did. And that would have been a team of dozens working directly with her, and hundreds, if not thousands, indirectly. This wasn't just because Marie Antoinette was royalty, nor because they were in France. A massive manufacturing system supplied the numerous fashion trades from tailors to gown makers to embroiderers, button makers, heel carvers, straw plaiters, and so many others, supplied everyone from the queen down to the common tradesperson. Everyone needed clothing, and the vast majority had it made to order. Fabric was expensive. Clothing making was not. No need for a shop to waste fabric, hoping the right customer came along, and no need for the untrained to struggle to make it themselves when labor was so cheap. The rest relied on second hand. For that reason, the fashion trades in all countries were absolutely massive. Yet, well before the 19th century, France had garnered the reputation of being a center of fashion. What was actually important at this time wasn't individual people, it was the overall industry. France had spent centuries building up quality textile manufacturing and other fashion industries around the country, as well as worldwide trade and colonization that supported it, as had Britain, Italy, Spain, the Netherlands, and pretty much every European country. France just specialized in fine textiles, silk brocades and lisers, laces and trims, even fashionable cotton printing in the South. The Industrial Revolution and the 19th century would take many of those other nations in different directions, however. While factories, machinery, and mass production would become key parts of manufacturing in most regions, France was less adoptive of those techniques. Not that they didn't use them at all, they just continued to place importance on the highly skilled trades that already existed. Machines might be able to rapidly churn out regular wool fabric, but to make silk lace or fly fringe? That still took delicate handwork. It helped that wages remained low in France compared to other places, allowing export at reasonable prices regardless. France still managed to adapt to the changing times, however. They, too, encouraged larger manufacturers, especially textile-based, to produce in France. Likely the most prominent name of this time, Charles Frederick Worth, is famous because he made great use of the system, and is the perfect example of how the French fashion industry grew. Worth moved from London to Paris in 1845 at age 20 to work in the textile trade, having trained in that field for years already. He worked for various textile sellers, eventually settling in at Gagelin, an extremely prominent company at the time. In addition to silks, they sold mantles and wraps, which needed plain dresses to show them over. So Worth volunteered to design a few. They were a massive hit amongst customers, and they began requesting the gowns as well as the shawls. They were even showcased in the first two great exhibitions, 1851 in London and 1855 in Paris. Gagelin was hesitant to make dressmaking a major part of their company, however, so Worth left to open his own business in 1858. He quickly ended up with some connections to royalty, where he made his name in fashion, just like the stylists of old. More importantly than his design skills, however, Worth was always putting the textile industry first, not only in using high-quality fabrics, but in pushing how important those trades were. Having royalty wear locally-made textiles was politically smart, and his assistance with their PR campaigns only solidified his position. It also meant that the textile and related fashion trades were pushed in front of the important names at the right time. While other nations left those trades to update and commercialize on their own, France put great stock in supporting them. The same mindset would extend to clothing production companies as ready-made, and a new type of made-to-order emerged in the middle of the 19th century, a way that had been found to keep up with international demand, but local manufacture. Most manufacturers in other countries were moving away from the smaller shops, filled with hand-sewing custom orders, to large industrial facilities with machinery, specialized workspaces, and ready-made options. France didn't ignore this, but found their own way. The House of Worth, for example, relied on prefabricated parts, using the same base patterns over and over, and relying on decor and fabric over fussy patterning. It was the only way to manage the thousands of gowns needed for formal events that clumped together twice a year, in the autumn and spring, if that sounds familiar. All of this growth was made possible not only by technology and textiles and sewing, but more so in communication and travel. French manufacturing embraced these elements much more than mass production. In fact, one of the reasons why Worth has become well-known as the originator of couture, despite not really being the first to do anything in particular, is that he was the first president of la chambre syndicale de la couture des confectionneurs et des taliers pour dames et fillets. It was already a large enough industry to be organized, not just in the manner of a trade, as had been done for centuries with a rotating assemblage of shopmasters and workers, but as names and companies that would outlast the life of their creators. Worth's company passed down to his sons and even grandsons after his death in 1895, for example. This syndicale would be powerful enough to change the path of French fashion in the coming years. It's easy to argue that without it, the trade would have broken apart and collapsed as it did in many other regions. They would be fighting their way through multiple government overhauls and wars, but first they had to battle a new foe. A very big thing happened during the 1880s which would force fashion to change. Advertising. Companies began to showcase their wares outside of their small local regions as mail-order catalogs with pictures brought business and customer closer together. Even the simple act of labeling clothing became its own form of new advertisement. It wasn't a novel idea. Shoemakers had been doing it since the mid-18th century. These labels were always somewhere discreet, inside of a pocket facing or on a waist tape, but they reminded the wearer of their maker and offered an early form of verifying authenticity. Less important with made-to-order, perhaps, but with the looming shadow of ready-made being sold outside of a single shop front, being associated with poor quality knockoffs, was about to be a very big concern. As higher-end fashion houses began to advertise their styles, it was not as a way to bring in new customers, but as a way to avoid stolen designs. Though the printing of their drawn designs did, logically, incur a risk of reproduction, it was riskier to have something floating around without a name on it. Drawings of garments made their way to America to be published in the blooming ladies' magazine business. But to avoid being caught in stealing designs, the artists simply left off the name of the design house. Doubly painful for designers. Choosing when and how to release their own image and designs allowed them to regulate when the images were published, after the garments had already been debuted in person. It still risked that many women would simply take the image to their local dressmaker and have it made up there, but at least their name would be attached to it. To fight this issue as individual couturiers would have been nearly impossible, but as the syndicale, their rules had to be followed by publishers if they wanted access to any fashion house in France ever again. And there were many major names appearing around this time, most of which have been forgotten in the decades since, but names like Maison Doucette, Drecolle, Cherrue, Lucille, Calosure, Akin, created the base of the industry we know today. In order to appeal to the wealthy customer base, especially as the French royal court system disappeared, they developed an entire experience of luxury. It was meant to be overwhelming and oversized. Massive, heavily decorated salons would welcome the women in scheduled appointments, where they would be managed by multiple employees, most essentially a fitter, Vendusse, and her assistant. Models, mannequins, were always present to show off the latest styles as well, an early format of the modern runway show. Clients would be served drinks and food, encouraged to lounge and observe the variety of styles available, and would not uncommonly spend hours in the salon on a regular basis. It was necessary to not only keep the of their clothing over other options. The value wasn't just in the cloth or the stitches. In 1911, the Syndical took on a new name, simplified a bit to La Chambre Syndicale de la Couture Pré-Régienne. This was the point where the Couture separated from the rest of standard fashion production. They had long-minute odds with each other, and the Couture group had been fairly resistant to swift modern updates. One of the next presidents of the Syndical would change this in order to revive the original purpose of the group, amidst multiple crises, however. Paul Poiré grew up in this world, working for various fashion houses in the 1900s, including a brief stint designing simpler styles for Worth from 1901 to 1903. He didn't subscribe to the more traditional, slow-moving fashion that aimed at just the most wealthy. Poiré was actually one of the first to start photographing models in clothing, not just famous socialites. He even took his show on the road, so to speak, and traveled with models around Europe to showcase his styles. Yet another step towards the runway. Inspired by Asian styles instead of just Western history, he used bright colors and unstructured silhouettes, constantly on the fringe of what was socially acceptable. Worth called him vulgar. Embracing the future of fashion was what was needed in the 19-teens, whether the old guard liked it or not, and Poiré understood that, just before he was declared president of the Syndicale in 1914, Poiré was fighting Alkan Silk Label Company, in court, for producing false labels. He wasn't just defending his own brand, but every popular design house who was constantly being ripped off by copyhouses. Shoddy replicas were one thing, but fake labels would bring down the reputations fast. In fact, copying had become an entire industry by that point. It was a tenuous relationship as designers recognized the value being imitated in a sort of free marketing way, but they were anxious about the loss of control over their product, especially since most of it was happening overseas. The US, in large part because they never had an industry in fine fashion production large enough to fight for, instead became the capital of mass production. And of copying. As French names began to fill the pages of Vogue and Harper's Bazaar, even Women's Wear Daily, American women wanted their own taste of French chic. Most could not afford the trip to Paris, let alone the cost of a made-to-order garment. But unlike France, American department stores were ready to take advantage of this demand. The US fashion system revolved around a very democratic availability of affordable fashion, regardless of where you lived or how much money you made. That meant it had to be ready-made and mass-produced. No place for fine handwork and custom fit as an entire industry. Labor was too expensive and too untrained for that. American manufacturers had also discovered it was cheaper to simply copy the great design than to figure it out for themselves. Thus, one of Praire's first decrees as president of the Syndicale was a document basically blaming the issues in Grande Couture on America. Large stores were not only stealing the designs, but were driving down prices and literally stealing both physical parts, like buttons and belts, as well as clients. It sounds kind of crazy, but in Fashion is Spinach, written by designer Elizabeth Hawes, she talks about how copy houses would gain access to garments. It was especially easy as by 1918, the design houses had begun to schedule all of their shows over the range of a week or so. Spring Summer debuted in February, and Autumn Winter debuted in August or September. In order to be ready for seasonal demand and be ahead of any other stores, these illegal copy houses would not only place sketch artists in the audience, but they would send in someone to try on every single outfit they'd be allowed to in the process of buying a few pieces immediately after a show. And it wasn't uncommon that they would cut off bits and pieces that they needed in the fitting room in order to reproduce it later. Apparently, one year Chanel was so ravaged, they refused to allow people to have access to separated belts after that. Poirot recognized how aggressive the copy industry was getting, pushed for restrictions on who was allowed into the houses, as well as additional fees for borrowing a garment to copy. Either way, copying was going to happen, might as well regulate it instead. This invitation, or really, black book, system was meant to deter the manufacturers and journalists that did not follow the rules. During World War I, this even included restricting the mention of German-based fashion houses and articles. Poirot helped to bridge the years between the original couturiers and the next set that would come of age in the post-World War I era. Many of the old houses simply didn't survive the swift changes in style between 1910 and 1925. Instead, names like Pouimet, Lanvin, Chanel, Schiaparelli, Vionnet, McCrae, Patou, Molineux, Lelon, Rochambe, Mimboché, and Piguet filled the magazines. Quite a few of those still survive today, though most went through at least a few years of absence at some point. None of these names would mean anything today if not for the supporting workers, however. Many of this list, and of every list to follow, were trained in various fashion houses before starting their own. The experience of the client in their grand salon with the staff to dote upon them was not the reality for most working within those walls. Behind the scenes, often on other levels of the same building, a small army of stitchers and cutters of varying levels churned out hand-beaded evening gowns and suits bedecked with perfect buttonholes. The industry was far from easy to work in. Long hours and very low pay were standard for the seamstresses. However, the syndicale did make some advancements voluntarily in the early 20th century. Worth's son introduced pension and insurance at their company. His son, also a president of the group, added paid holidays in 1923. They also started up a school in 1927 so that training could be more consistent. Pay was still low, however, not just in the fashion industry but for the working class in France in general. The chic French woman in made-to-order perfectly fitted high-quality clothing was actually a very tiny portion of the population in the early 20th century. Most women wore a tailored suit or a black dress, simple and less subject to fast trends. The couture industry therefore depended on international business, not just local. The approach of global war threatened this international dependency in the late 1930s. Early on in the war, the syndicale planned to move the industry to Biarritz, not unlike WWI where many houses retreated to trendy coastal cities. Molyneux had a branch there, so Lilong, the syndicale president at that time, Schiaparelli, Balenciaga, Patou, Haim and Piguet met there to discuss how to move the industry once Paris was Unfortunately, the swift capitulation forced any British citizens to leave immediately, which included a good number of important people in the fashion industry. And there just wasn't enough time to organize the exodus. Lilong returned to Paris, where the Chambre Syndicale was promptly taken over by the Germans. They insisted the fashion industry be moved to Berlin and Vienna as part of the effort to bolster Germany as the center of art and design. But Lilong was able to argue that there were far too many tiny industries to support in Paris that could not be moved. Couture houses could not survive without those tiny shops selling supplies and specialized labor. The Germans thankfully relented and the couture industry remained in Paris during the war, operating within a difficult set of regulations. The point of remaining open regardless was to keep people employed and the broader industry alive. While many of the designers were far from quiet about their distaste for the changing customers, as the shops filled with the wives of German officers and black market dealers, Dior remarking that they were the sort of people who would be shot when the liberation happens, everything was done with the belief that the situation was only temporary, and that the long-term effects would outweigh the short-term frustrations. When the Germans did finally retreat, the fashion industry simply continued on. The only scandal had nothing to do with their customers, but their designs instead. There was some distaste from the British in particular, as the styles Paris was putting out were not nearly as pared down and adjusted to wartime rations as expected. They seemed more than a little extravagant and wasteful given the situation. It would only be a few years before that would become the desired goal, regardless of their neighbors' opinions. This is also the point in 1945 that the term haute couture was formally adopted, and the syndicale became la chambre syndicale de la haute couture. This allowed them to control exactly who would qualify as haute couture, or even just couture, thus regulating a sort of status within the industry. This was in comparison to the ready-made industry termed la confection, at that time, which soon changed to industrie du vêtement féminine. It wouldn't be long before those that qualified as haute couture realized their industry would die without adopting ready-made to some extent. The customer base for custom work was shrinking rapidly. Prêt-à-porter des couturiers was created instead and officially adopted in 1973, by which time many couture houses had an extensive ready-to-wear range. Since that point, the syndicale has gone through more minor changes to both name and purpose, adding in regular men's and women's wear sections to bring them together with haute couture, officially known as la fédération de la haute couture et de la mode. Currently, there are 15 permanent members of the haute couture section, 8 guest members that are allowed to use couture but either aren't showing as often or only do ready-to-wear, and every year there are additional invited members that can show on the peak dates for that season. Sort of temporary perks but no titles. They have immense control over how the industry is run, not just in France, but extend to global influence as well. It's this system that was necessary to keep the industry stable through so many changes. France has never been, and presumably never will be, the only source of fashion. Other countries created their own specialized fashion industry as well. England had long been the place to go for tailored fashion. Names like Henry Creed and Red Fern were the ultimate options for ladies' suits and sportswear. Red Fern was so successful that they opened a Paris house as well. Italy, of course, is also incredibly well known for their high-quality fashion, especially leather accessories like shoes and purses. And Milan has its own fashion week. But no other country has placed so much constant importance on their fashion industry in quite the same way. Ironically, it's not so much that the design of clothing is truly French, so much as the way of life that makes up the industry is. Elizabeth Hawes pointed out that to be a French couturier did not require being born or raised in France. Building a business there, supporting the local industries, and following the system was what made famous designers like Schiaparelli, Worth, Maimbeauchet, Molyneux, and so many others French by French standards. Today, companies like Hermès recognize the importance of supporting a national structure of manufacturing, including schools, and continue to keep French fashion alive. We may not look to couture houses as our only or even main source of new ideas anymore, but the industry focus on quality craftsmanship is essential to support if we want to ease off fast fashion. I'm not saying go out and buy a haute couture piece next time you need a shirt, but appreciate the skilled craftsmen and the cost it inevitably takes to produce quality with fair wages. And maybe we can at least manage another century of haute couture. Thanks again to ThredUp for sponsoring this video, and don't forget to tap my link and use code RUDOLPH50 for 50% off your first order.