It appeared back in 1927 as one of the institutions of the High Fashion Syndicate (Chambre Syndicale de la Haute Couture). He determines the status of fashion designers, organizes shows and selects houses that can join the Syndicate. To join, you must meet a number of requirements: all production must be located in Paris and fall under the jurisdiction of the French Department of Industry; the brand must employ at least fifteen employees; designers must present new collections twice a year (at least 30 dresses in each fashion show). The Ecole de la Chambre Syndicale de la Сouture Parisienne school was supposed to become a place that trained and produced high-level fashion designers who in the future could become members of the Syndicate.
Fashion school Ecole de la Chambre Syndicale, photo: ecole-couture-parisienne.com
Features of training
The school provides several courses and programs for students of different levels: for beginners, for working people and for professionals (the latter direction is rare in universities of this type). The most popular areas include management, fashion and marketing. Thus, at the bachelor’s degree “Design and Modeling” you will be told about design, the basic principles of the artistic and technical aspects of fashion, the history of fashion and taught how to use modern computer programs. After four years of study, students choose a specialization (Design or Cutting/Construction). Graduates who have distinguished themselves in their undergraduate studies, after completing a four-year course, have the opportunity to immediately receive a Master 1 diploma (the same as a Russian specialty).
In addition to long-term classes, you can also attend lecture courses to improve your skills. Thus, people with experience in the fashion industry can attend master classes and trainings on modeling, draping, bias cutting, methods of creating volumes and other topics. Admission to such programs is also carried out on a competitive basis, the duration of the entire course varies from six months to two years.
The school helps students in their self-realization by organizing fashion shows and exhibitions of their work, and also invites leading designers and representatives of the fashion industry as lecturers, who share their experience with students and advise them.
Famous graduates
The list of names of Ecole de la Chambre Syndicale de la Сouture Parisienne graduates speaks for itself. Fashion designers Yves Saint Laurent, Karl Lagerfeld, Valentino, Andre Courrèges, Lefranc, Stéphane Rolland, Issey Miyake, Olivier Lapidus and others studied here. There are many here who want to become the “second Lagerfelds,” but not everyone succeeds. A diploma from the Syndicate of Haute Couture school, like any other university, of course, does not provide any guarantees of future success.
Karl Lagerfeld
Admission rules
You can enroll in a bachelor's degree program immediately after school; additional artistic training will be an advantage. However, they say that quite often students who have not completed a design course at another institution are not accepted here. To enroll, you must know French (send a certificate confirming your knowledge), provide the school with a certified certificate, diploma, portfolio and motivation letter. Only after reviewing these documents can you be invited for an interview. This package of documents is standard for all directions. But each has its own specifics. For example, to study in a program for professionals, you must be in the age category from 26 to 49 years. A year of undergraduate study costs about eleven thousand euros. You can get more detailed information about the university on the official website
10 March 2015, 17:55The origin of the phrase “haute couture” in Russia is often not understood, or rather, confused. In fact, this is a pronunciation of the French term “haute couture”, literally translated - “haute tailoring”, “High fashion”, and not at all the Russian “from Eliseev”, “from Slava Zaitsev” or “from Versace”! Now let's turn to the essence of this concept. Haute couture clothing is not just something elegant, dizzying or handmade - it is, strictly speaking, models of those few fashion houses that are part of the Chambre Syndicale de la Couture Parisienne.
A story similar to champagne - as you remember, only wine from the Champagne region that complies with all the rules of the French “National Institute of Appellations of Origin” (INAO) has the right to be called and cost like champagne, and similar drinks from California, Canada and Russia will forever remain just “sparkling wines”. In general, the Syndicate of Haute Couture is a purely French trade union, closed to foreigners for a long time. With global international influence - after all, over several centuries, Paris has won its status as the capital of fashion!
The rather strict rules by which fashion houses and ateliers of the corresponding class can apply to join the Syndicate are regulated by French law, and the final list of its members is approved by the Ministry of Industry. Everything is serious and at the state level. By monopolizing the “haute couture” label and creating the Syndicate, France earned the right to put its own “quality mark” and, accordingly, prices. The history of haute couture (that is, “High Fashion”) is the social history of Europe. The first couturier in the modern sense was the Englishman Charles Frederick Worth, who specially moved to Paris to open his fashion house there.
This was in 1858. Why is he considered the first? Because he was the first to dictate his vision of fashion to aristocratic clients, and they appreciated him! After him, other fashion designers began to do the same. Worth was the first to divide collections by season, the first to sew a ribbon with his name on an outfit, and the first to introduce clothing shows on live models, abandoning the then common practice of sending rag dolls to clients dressed in the proposed mini-outfit.
His customers, including the crowned heads of nine royal courts, famous actresses and the richest people of that time, chose models from the collection, which were then sewn from the proposed fabrics according to their figure and size. In general, Worth became a real revolutionary in tailoring; He was the first to see an artist in a tailor, and not just a craftsman, and proudly called him “couturier.” And, by the way, he was not at all shy about charging very high prices for his ball gowns! In France, and throughout Europe, clothing has long remained a distinctive sign of class, rank and status in the social hierarchy. The law prohibited the lower classes from wearing clothes made of a certain fabric and even a particular color.
The French Revolution changed everything! At this time, a decree was issued allowing all citizens of the Republic to wear any clothing they wished. In this regard, the sewing business took off sharply, and in 1868 the most high-status fashion designers who dressed the highest circles of society united in the Professional Syndicate of Couturiers to protect their copyrights from plagiarism by tailors who dressed ordinary bourgeois. At the end of the 19th century, to join this organization, fashion houses had to sew outfits to order and only by hand, which, according to Charles Worth, guaranteed the uniqueness of the model and high quality (as opposed to machine production). And a little later, everyone was obliged to hold regular fashion shows for clients and demonstrate new seasonal collections twice a year, that is, to “promote themselves.” Only a member of the Syndicate had the right to bear the title of “couturier”. Clients who wanted to emphasize their individuality and high position in society went to shows and dressed only from such masters.
So, in 1900, the couture “workshop” consisted of 20 fashion houses, in 1925 - 25, in 1937 - already 29. Along with the Parisian houses there were ateliers and fashion houses created by Russian emigrant aristocrats: IrFe, Iteb, Tao, Paul Caret and others. Since 1910, the Syndicate has transformed into the Chamber of Haute Couture, which began to promote French fashion on the international market. Immediately after the Second World War, the Chamber organized a traveling exhibition - Theater of Fashion, in which 53 fashion houses took part. Over the next year, the number of Houses increases to 106! This time is called the “golden years” of couture: 100 shows per season take place in Paris, more than 46 thousand people work for Haute Couture, 15 thousand customers use the services of the Houses, mainly representatives of the “old money” of Europe and America, aristocrats . Such famous ladies as the Duchess of Windsor or Gloria Guinness order entire collections for their wardrobe.
Sonsoles Diez de Rivera y de Icaza, a Spanish aristocrat who dressed for Cristóbal Balenciaga: “When my mother, a regular client of Eisa (Balenciaga’s Spanish atelier) and just his friend, found out that the couturier was closing everything and retiring, she experienced a real shock , because I literally ordered my entire wardrobe from him for decades and simply didn’t understand what to do now. His clothes, sewn for one client, were completely different from those he made for another. He knew them that well.”
Wedding dress made by Balenciaga for Sonsoles Diez de Rivera and de Icaza
The reason why Balenciaga and other couturiers were forced to sadden their clients so much was the advent of the 60s with their “revolution of the young,” youth music and youth subcultures. That's it - now the trend is set by rebellious idols, and London becomes the center of fashion for young people! Fashion is sharply losing its elitist character and turning into a mass democratic industry.
The time has come for prêt-à-porter - the ready-to-wear industry! A mere mortal has the opportunity to buy designer items in stores. Unable to withstand the competition, the ateliers closed one after another, and by 1967 there were only 18 fashion houses left in Paris. At that time, Parisian haute couture survived only thanks to the “Arab princesses,” the wives and daughters of Saudi or Qatari oil sheikhs, who came to Paris and, without counting, spent money on exclusive outfits from famous brands. The new rich from the USA, who made fortunes for themselves, for example, in Silicon Valley, were not interested in “High Fashion”, the “new money” had completely different ways of social self-presentation, everyone was obsessed with charity, and buying an extremely expensive outfit was morally unacceptable for them. Therefore, at the end of the 20th century, when the wallets of the Arab clientele were affected by the oil crisis, several large Parisian Houses (Torrente, Balmain, Féraud, Carven, Jean-Louis Scherrer, Givenchy and Ungaro) suspended shows.
Parisian couture needed to be saved! Marketers and financiers were tasked with monitoring changes in heart rate and maintaining immunity. It was then, in fact, that people appeared in the management of fashion houses who just yesterday were successfully selling yoghurts or diapers. But still, why didn’t the French give up this expensive business and why do they take the seemingly ordinary tailoring craft so seriously?
Firstly, it is enough to watch how a dozen craftswomen hand embroider a detail of a dress or process feathers specially brought from South Africa to understand that “High Fashion” is not just a decadent whim for the rich, but a real art of sewing. A labor-intensive, expensive and rare art for those who can afford it (imagine, one dress usually takes 200 to 500 hours of work).
Secondly, the value of French couture lies in the use of the labor of high-class artisans who, in traditional French specialized ateliers, produce lace, pleating, feather decorations, buttons, flowers, costume jewelry, gloves and hats commissioned by fashion houses. All this is done by hand, with soul, like in the good old days, and therefore simply cannot be cheap! If these ancient ateliers are not provided with orders, then their centuries-old knowledge and experience will forever disappear in the whirlpool of mass fashion made in China. In general, couture is not just a cultural heritage, but an emotional component of the “modern France” brand, and as long as couture traditions are strong in Paris, France will stand above any of the world’s fashion capitals!
Having accepted the rules of the game of modern fashion business, the Chamber of Haute Couture is actively involved in management and marketing, it organizes the haute couture week, held annually in January and July, establishes and maintains relations with the press and buyers around the world, and since 2001 has simplified draconian conditions for admission to the Syndicate.
Today, to obtain the status of a Haute Couture House, you must have your main production (ateliers, workshops, stores) in Paris in order to be legally part of the French Department of Industry; pay for the work of at least 15 permanent employees - silk specialists, high-class cutting specialists (previously - 20 employees and three permanent fashion models), demonstrate 35 models on the catwalk twice a year (in the early 1990s, the collection had to include not less than 75 models per season). All haute couture dresses are made only in one copy, the number of machine seams should not exceed 30%, finishing and decoration should be made according to ancient traditions, in those very specialized Parisian ateliers. Plus a large entrance fee - where would we be without it! These “concessions” made it possible to accept Jean-Paul Gaultier and Thierry Mugler into the Syndicate.
Despite the modernization of the entire system, the old French houses went bankrupt and one after another left the game, so to attract new luxury brands, another category of participation was introduced - “Invited Members of the Syndicate”. And yes, now rare foreigners are being accepted into the Syndicate under special conditions. The houses of Versace, Valentino, Elie Saab, Giorgio Armani, whose headquarters are located outside Paris, become corresponding members of the Chamber. In addition, a defile-off option appears: an opportunity for young designers, for several hundred thousand dollars, to show their collections not “as part of”, but “on the margins” of the haute couture week (by the way, Ulyana Sergeenko took advantage of this opportunity not so long ago) . This move has a very practical explanation: it is almost impossible for young designers to get into the prêt-à-porter week schedule, it is packed to capacity, but in the couture week there is plenty of space, which means there is a greater chance of being noticed.
Since 2005, life begins to return to haute couture, and “fashion for Haute Couture” comes. The barely alive Givenchy resumed shows; then representatives of the Houses of Christian Lacroix and Jean Paul Gaultier started talking about increasing orders; Christian Dior sells 45 couture dresses straight from the catwalk. Chanel claims that its current haute couture clients are not only Middle Eastern millionaires and eccentric Russians, but also Europeans, Americans, Indians and Chinese. Giorgio Armani greatly surprised fashion industry analysts by launching his couture line Armani Prive in 2005 - what does a 70-year-old Italian who has never done Haute Couture and built his empire on classic jackets and trousers expect? Nevertheless, his bet on super-luxury turned out to be correct (as in 2012 - on the Armani / Dolci line of preserves and jams): clothes costing 15,000 euros, which take 2 months to create, are in demand among his European clients. In addition, both Armani and Chanel pay for their head seamstress to fly on a private plane to carry out fittings directly at the client's place: many of them do not attend the fashion show, protecting their privacy. Fashion houses are increasingly holding private shows in showrooms in New York, Dubai, Moscow, New Delhi or Hong Kong, because only 10% of clients purchase couture items in Paris.
The English newspaper Telegraph once quoted the words of a young couture buyer from Kazakhstan: “In our country, a magnificent wedding is the norm. My respected family cannot allow me to appear at a wedding in a simple dress. And under no circumstances should another guest wear the same outfit. So haute couture for such cases is more of a necessity than a luxury. Our fathers and husbands take this fact for granted. The social calendar of a respected wealthy woman from the East, according to couture studios, is from fifteen to twenty weddings a year, plus at least one private party every month. It is much more saturated than that of the richest women in Europe and North America, for whom weddings of members of royal families and charity high society balls are a worthy occasion to wear haute couture outfits. It’s just a pity that photo reports from oriental balls cannot be seen in the social sections of glossy magazines.”
To prevent two dresses from “meeting” at the same party, fashion houses ask numerous questions with each order, including: “What event are you invited to?”, “Who is accompanying you?”, “What type of transport will you use to get to the place?” events?”, “How many guests are expected?” Representatives of the studio clearly keep records of which country and event this or that outfit will go to.
But the most amazing thing is that the same haute couture traditions that Worth promoted 160 years ago are still alive! The dresses still shown on the catwalk are the reference model. In the same way, the client chooses a model that she likes, then a new model is hand-sewn for her according to her figure. True, now they even make special mannequins for regular clients, exactly according to their standards. But just like Worth, these things cannot be cheap: the price of an evening dress will be approximately 60 thousand dollars, a suit - 16 thousand dollars, a dress - from 26 to 100 thousand dollars.
Each of the houses producing haute couture (except, perhaps, such giants as Chanel and Christian Dior) has an average of 150 regular clients, which is not much more than the court tailors in the 17th century. Despite the fact that there are no more than two thousand customers all over the world, and the main income of the Houses will still be perfume, cosmetics, accessories and bags, it is in this union of pure creativity and industry that the bright future of fashion lies. Professionals predict two ways for the development of couture in the 21st century: first, the couture line will become a laboratory of ideas, a manifesto and a conceptual statement. The second is a “return to basics”: working with clients, creating for them a wardrobe that will decorate them in all possible life situations.
As of 2012, the official members of the Syndicate of Haute Couture were (could not find more recent information):
Adeline André
Christian Dior
Christophe Josse
Franck Sorbier
Givenchy
Jean Paul Gaultier
Gustavo Lins (fr)
Maurizio Galante
Stéphane Rolland
Jewelry brands - members of the Syndicate:
Chanel Joaillerie
Van Cleef & Arpels
Corresponding members: Elie Saab, Giorgio Armani, Giambattista Valli, Valentino, Versace.
Invited guests: Alexandre Vauthier, Bouchra Jarrar, Iris Van Herpen, Julien Fournié, Maxime Simoens, Ralph & Russo, Yiqing Yin.
Former members: Anna May, Anne Valérie Hash, Balenciaga, Callot Soeurs, Carven (fr), Christian Lacroix, Ektor Von Hoffmeister, Elsa Schiaparelli, Emilio Pucci, Erica Spitulski, Erik Tenorio, Escada, Fred Sathal, Gai Mattiolo, Grès, Guy Laroche, Hanae Mori, Jacques Fath, Jacques Griffe (fr), Jacques Heim, Jean Patou, Jean-Louis Scherrer, Jeanne Lafaurie, Joseph, Junaid Jamshed, Lanvin, Lecoanet Hemant (fr), Lefranc Ferrant, Loris Azzaro, Louis Feraud, Lucien Lelong, Mad Carpentier, Louise Chéruit, Madeleine Vionnet, Madeleine Vramant, Maggy Rouff, Mainbocher, Mak Shoe, Marcel Rochas, Marcelle Chaumont, Nina Ricci, Paco Rabanne, Patrick Kelly, Paul Poiret, Pierre Balmain, Pierre Cardin, Rabih Kayrouz, Ralph Rucci, Robert Piguet, Ted Lapidus, Thierry Mugler, Sophie, Torrente (fr), Yves Saint Laurent
Updated 11/03/15 00:49:
Video of how haute couture clothes are made
Updated 11/03/15 01:16:
How pleating is done
Updated 11/03/15 18:40:
Dior of Galliano's time
Updated 11/03/15 18:55:
Views: 2,925
High fashion owes its appearance to the English fashion designer Charles Frederick Worth, who in 1858 opened his fashion house House of Worth on the Rue de la Paix in Paris in 1857 and was the first to divide clothing collections by season. In 1868 Worth created High Fashion Syndicate(French: Chambre Syndicale de la Couture Parisienne) is a Parisian organization uniting fashion houses, which still exists. She united the salons in which the highest circles of society dressed into a single organization. High fashion is born - Haute couture.
Worth, Charles FrederickWhile working in a sewing studio of one of the Parisian manufactories, Worth married a fellow worker, fashion model Marie Vernet. The models of hats and dresses that Worth created for his wife began to be in demand among clients who asked for copies to be made for them. Having found a wealthy Swede companion, Worth organized his own business, which soon turned out to be in the sphere of interests of the French Empress Eugenie, a famous trendsetter of that era. Many aristocrats and famous women of the time became clients of the first Haute Couture House, including Princess Pauline von Metternich and actress Sarah Bernhardt. Clients came to Worth in Paris from as far away as Boston and New York.
Charles Worth was apparently prompted to this decision by two reasons: on the one hand, the desire to protect famous tailors from copying them
Ribbon with the name Worth
models by ordinary tailors (since the Syndicate protects the copyrights of its members); on the other hand, to offer clients exclusive models that would distinguish them from ordinary bourgeois.
In the 19th century, fashion arose in the upper classes, which, with the help of new fashionable designs, emphasized their difference from the lower classes. But since all class restrictions have been abolished in bourgeois society, the middle and then lower classes can imitate the fashion of the elite. Striving
to indicate their high social status, the upper classes again adopted new models - the masses again copied the fashion of the elite. And so on endlessly.
At the end of the 19th century, German sociologist Georg Simmel explained these mechanisms of the emergence and functioning of fashion in the “elite theory” of fashion (dubbed the “trickle-down effect”).
Charles Worth felt the need of the highest circles of society for exclusive fashion. The idea of high fashion provided precisely this need. Charles Worth began to put his name
Worth's Evening Toilet
on models (as an artist signs his works) - the name of the couturier acquired value as a guarantee of high quality, and then as a sign of high social status. Essentially, the licensing system, which actively developed in the second half of the 20th century, was based precisely on this label with the name of the tailor or the name of the atelier, which, following Worth, other couturiers and high-class tailors in all countries began to sew onto their models.
Marie Vernet-Worth. wife and first fashion model.
Worth is known as a pioneer of new women's fashion forms, eliminating unnecessary ruffles and frills. He offered his clients a huge range of fabrics and careful, pedantic fit. Instead of allowing the client to dictate the design, Worth pioneered fashion collections by season, holding fashion shows four times a year. Clients chose models, which were then sewn from fabrics of individual choice and taking into account the size and characteristics of the figure. Worth is considered a revolutionary in the clothing business. He was the first to see an artist in a tailor, and not just a craftsman, and awarded him the rank of “couturier”.
Worth became the first to sign models with his own name and made it a rule to present a new collection every year. He is considered the inventor of fashion shows, and his wife is considered the first fashion model. It was Worth who came up with the familiar shape of the mannequin. Before anyone else, he began to replicate fashion - he sold models so that they could be copied. He deliberately introduced into fashion those fabrics whose production he considered necessary. In other words, he truly began to use the mechanism of the origin and spread of fashion.
Of course, fashion was not born in France. She was born several thousand years earlier, but it was in France that sewing turned into a proclaimed art form. And it is a national treasure.
The creator of haute couture was the Englishman (!) Charles Frederick Worth (1825-1895), who came to Paris in 1845. First he worked in a store, then in a sewing workshop, and in 1858 he opened his own workshop , in which he sewed dresses for the highest-ranking clients (since 1860, Worth became Empress Eugenie's tailor). Worth's clients were famous aristocrats not only in France, but throughout Europe; he dressed 9 queens. Worth's personality is unique in the fashion world and deserves a separate story. By the way, it was Worth who introduced fashion models not only to shows, but also as “understudies” for noble clients, so that the latter would not suffer during fittings (for example, Queen Victoria dressed incognito with Worth, never visiting his salon).
Charles Frederick Worth Worth's evening dresses 1887, 1892 dress details (handmade)
In 1868, Worth created the Chambre Syndicale de la Haute Couture (High Fashion Syndicate), an organization that united fashion houses in which the highest circles of society dressed. Worth was apparently prompted to do this, on the one hand, by the desire to protect famous tailors from copying their designs (since the Syndicate protects copyright on the designs of its members), on the other hand, by the desire to offer its clients unique, one-off models, as well as personal motives: Worth considered himself not a tailor, but an artist; it was he who decided what the outfit would look like, not the client.
The haute couture syndicate is like a closed club: only members of this organization can be called couturiers. To be accepted into the Syndicate, it was necessary to meet certain requirements - to make models only to individual orders and only using handmade work (which, according to Worth, ensured quality and exclusivity against the backdrop of the ubiquity of sewing machines), to have a special clientele.
Haute couture does not change its principles to this day: the requirements remain the same.
There was no selection based on gender in the Syndicate of Haute Couture.
Fashion houses created by men were equally famous (Worth, John Redfern, Jacques
Doucet"). And women (“Madame Paquin”, “Sisters Callot”, “Lucille”, “Madame Laferrier”). By the way, the first couturier to work in men's clothing was Jeanne Lanvin.
Currently, a couturier can call himself someone who is a member of the Syndicate of Haute Couture, has a salon (haute couture house) in Paris and follows certain rules:
- when making custom-made models, she uses predominantly handmade work (now the strict rules have been relaxed - up to 30% of machine stitches are allowed);
- uses fabrics of a certain cost;
- twice a year shows new collections, which should include at least 35 models on mannequins (in July-August - autumn-winter, in January - spring-summer), and also organizes private shows for clients (though now there are are successfully replaced by video recordings of shows and Internet sites);
- at least 15 employees and 3 permanent fashion models must work in the workshops of the house;
- production must be located in Paris, that is, legally subject to the French Department of Industry.
An interesting detail: as you know, premiere fashion shows (Haute Couture Week) are held in Paris. But since 1911, when Paul Poiret first went on “tour” to London, many fashion houses, after the premiere, organize shows in other countries in order to attract clients. The orientation of the “tour” corresponds to the places of residence of the main clients of haute couture: India, China, UAE, Russia, Brazil.
In France, the term haute couture is protected by law. The concept is defined by the Chamber of Commerce and Industry, which states that the name haute couture can only be used by those companies that are included in the list annually approved by the French Ministry of Industry.
Valentin Yudashkin became the first and so far the only Russian fashion designer admitted to the High Fashion Syndicate as a foreign corresponding member (1996-2000), but the status was lost in 2000.
Haute couture is always made by hand (now 70%), always in Paris, always to exact individual measurements from carefully selected materials. The production time for the outfit is 6-12 weeks, three fittings are required.
Each model typically requires 100 to 400 hours of work. The suit or dress chosen at the fashion show is only a sample, and a new one is sewn for the client, ideally suited to the figure. Ideally, the dress should be made for the client in a single copy, but there is a relaxation: there can be several dresses, but it cannot be sold to one continent, and the maximum number of dresses of one sample is three. This was done in order to reduce to the point of impossibility the likelihood of meeting two identical dresses.
The price of a haute couture dress is very high - from 25 to 100 thousand dollars, a suit - from 16 thousand dollars, and an evening dress - from 60 thousand dollars. For advertising purposes, dresses are rented to celebrities, but not to everyone and not always.
There are not many regular clients of high fashion houses. According to experts, there are 200-300 people worldwide. The ideal haute couture client is the one who places three full orders in a year. A very common picture is when a couturier flies on a client’s private jet from Paris to New York or Moscow.
Since the beginning of the 20th century, the number of haute couture houses has grown, in 1950 there were about 90.
In 2001, the Syndicate included the following houses (15): Balmain, Chanel, Christian Dior, Christian Lacroix, Emanuel Ungaro, Givenchy, Hanae Mori, Jean Louis Scherrer, Jean-Paul Gaultier, Lecoanet Hemant, Louis Feraud, Thierry Mugler, Torrente , Yves Saint Laurent, Viktor & Rolf.
As well as 2 foreign corresponding members whose headquarters are located outside of Paris: Valentino and Versace.
In 2010, the Syndicate includes (10): Adeline Andre, Chanel, Christian Dior, Christian Lacroix, Dominique Sirop, Emanuel Ungaro Franck Sorbier, Givenchy, Jean Paul Gaultier, Jean-Louis Scherrer.
And 4 corresponding members: Elie Saab, Giorgio Armani, Maison Martin Margiela, Valentino.
As we see, haute couture fashion houses are constantly changing, the downward trend is obvious... But the death of couture, I’m sure, is still far away. At least for now there are at least those 200 clients craving exclusivity!