Did Paris regain its cultural status as the world centre for haute couture fashion after World War II?

Analyse this question in relation to the rising profile of art and fashion in America in the 1950s.

The word Haute Couture is a French terminology that means “high sewing” or ‘high dressmaking”. This term is originated from the 18th century when clothes were stitched for the royal family at Versailles along with this the tourists of the city would go to their home countries and make the exact same garment there. This type of clothing was specifically made for the upper class as they could afford it easily and were made according to their size. The individuals belonging to lower class stitched their clothes with whatever material was available to them or what clothing material they could afford. The designer houses of Paris set the standard for fashion of Haute Couture for the world, however, the individuals weren’t convinced on spending money on expensive clothes so the couturiers allowed one or two retailers into their designer houses to make the exact same one in a lower price that way the designs of the famous designers were accessible to other classes instead of only the elite class (Johnson, n.d.). Charles Frederick Worth was among the first designers during the 18th century, he was known for his unique designs that was sold to all of the royal families in Europe. He was the one to make dresses that were affordable for the middle class individuals residing in United States (US) (Johnson, n.d.).

A silk dress made by the House of Worth in 1953                 (Source: Krick, 2004) 

The Second World War (WWII) was known to be the deadliest wars in World’s History. However, During the war, fashion was specific to ordinary garments and limiting the resources and clothing materials. France has German troops in the country and in the capital city of the country, Paris very few designer houses we still opened. The majority of the countries’ magazines encouraged the individuals in stitching clothes from any old garments or the clothing material that is with the citizens and is of no use to them (Hughes, 2019). The skirts and coats became shorter in length, suits were worn in place of uniforms and eclectic shoulders subjugated the fashion. Shoes and hats were now hand made and silk was replaced by wool stockings and socks. In France a new fashion house was opened by Christian Dior in 1947, he first created haute Couture and his first designer collection was called Ligne Corolle however, according the fashion media it was called a “New Look” because every piece of the collection was new and improved. Due to minimum resources because of the war Dior’s collection was unable to make abundance of dresses for the elite and the production process was slow. However, the retailers were able to produce these dresses in 1948, introducing short skirts with the popular Dior’s cut underneath the skirt that helps the women to walk easily. Nylon stockings were also in use instead of those wool stockings (Hughes, 2019). Fashion and art in the 19th century revolutionized in a positive way not restricted by culture, any rules or ethical responsibilities. In the first few years of the 20th century corsets weren’t used any more, the length of hair was becoming shorter and industrialization of the fashion industry which included clothes made from machines rather than handmade. In 1939 a fashion designer Cristobal Balenciaga showcased his collection by the name of ‘New Look’ however, it didn’t receive that much attention although Dior introduced this type of a collection almost a decade later and got recognition and was popular due to that particular collection (English, 2013). During the WWII the fashion industry was not protected during the time period between 1939 and 1940 (Kolokytha, 2016).

A group of women wearing what they had left during the war

Source: Harper’s Bazaar UK (2015).

There was a total of six designers that impacted the fashion world in Paris even after it when Paris was under German occupation. The notable designers were Gabrielle “Coco” Chanel 1883-1971), Elsa Schiaparelli 1890-1973), Mainbocher (1890-1976), Adrian (1903-1959), Edith Head and Arnold Lever (1897-1981). These designers reflected upon the fashion industry and gave rise to the middle class during the WWII (Mason, 2011). After the WWII the people couldn’t afford these luxurious Haute Couture designers dresses as discussed above due to economic recession so the retailers made the exact same replica of these dresses and sold it for a much cheaper price. This was in 1960s and the retailers entered into the fashion world. There were bigger changes in the fashion industry around the world like in London people preferred jeans and T-shirts and there was an introduction of new fashion pieces and Haute Couture was not only an option for the people. As soon as the importance of new garments became popular marketers were producing more and more of these ready to made clothes due to which Haute Couture was downsizing. The former fashion lavish clothes were worn by elite women from oil producing families who could afford these in the 1970s however, the Haute Couture garments were worn in secrecy. The Haute Couture didn’t re-claim its popularity until the 1980s due to the economic boost was also advertised in the print media. The retailers’ industry was believed to be the one gives the push to Haute Couture industry, people started to buy from these fashion houses. Paris is known as a fashion capital of the world and endured the WWII only because of the collection designed by Dior in 1947, “New Look”. This collection brough the French style of clothing on a global platform. According to Waquet and Laporte (2002), the only possible means through which the fashion industry could persist from the year 1980 to 1990 was the collaboration between Haute Couture and dogmatic power (as cited in Godart, 2014). The city also took advantage from a couple of new fashion houses that were LVMH and PPR that permitted the country to maintain its authority on the fashion world on the other markets like the retailer’s industry. This was obtained through the mergers of foreign brands to Parisian brands and a tactic of ‘brain drain of other fashion cities to the fashion capital of the world. 

The American fashion firms evolved after the 1900s and by the year 1920 there were multiple firms generating clothes for the American women. This growth was due to the increased desire of the American clients. The fashion houses in Paris were the major influencers of the rise in various types of clothing garments in the market. As the women in America were brand conscious and preferred the Parisian brands that were famous due to the advertisements done by them. By the 1920, the clients also relied on the American brands as they did on the Parisian brands (Marcketti & Parsons, 2007). Many of the American designers took the basic idea of their clothes from the Parisian designers and sold it at a much lower price. For instance, a fashion firm like Simpson Crawford Co. took prestige in adapting some designs from the famous designer such as Drecoll whose gown was showcased in Crawford’s store that was about four hundred and eighty five dollars however, the American company made a garment that was like Drecoll’s gown but was sold at a price of twenty four dollars. The showcasing of the gown was shown as a comparison between the two type of clothes by the American designers. 

A group of American women showcasing the fashion of 1920s

Source: Fahsion in American History (n.d.)

Before the WWII America followed in the footsteps of Parisian designers although they were independent of the Europe rule, they followed Parisian’s designers like bees following the scent of honey. When the fashion capital of the world was occupied by the German troops it gave America a chance to acclaim itself one of the fashion countries of the world. After the war the reputation of Paris was downsized due to which the underdog America came forward and moved inside the industry working its way up to the top. After the WWII Paris regained its power however, there was not one but there were two amor fashion industries in the world competing against each other till now. The majority of the America’s fashion included garments for middle class citizens who were able to afford the clothes however, the Parisian designers received attention from the elite class even the royals (Buckland, 1996). 

1950’s clothing advertisement

Source: Monet (2019)

The above picture is an advertisement printed in the newspaper by the American media in which attractive marketing is done by the marketers showcasing cheap stylish dresses. This was a strategy adopted by the American retailers to attract the customers into buying these dresses and not go after those expensive Haute Couture dresses made by Parisian designers. Paris and America are now known as the fashion industries of the world, each of the industries are unique in their own way.

References:

Buckland, S.S., 1996. Promoting american fashion 1940 through 1945: from understudy to star (Doctoral dissertation, The Ohio State University).

English, B., 2013. A cultural history of fashion in the 20th and 21st centuries: from catwalk to sidewalk. A&C Black.

Godart, F., 2014. The power structure of the fashion industry: Fashion capitals, globalization and creativity. International Journal of Fashion Studies, 1(1), pp.39-55.

Harper’s Bazaar. 2015. 20 facts about fashion and the Second World War, Retrieved 13 January 2020, Retrieved from https://www.harpersbazaar.com/uk/culture/going-out/news/a34075/20-facts-about-fashion-and-the-second-world-war/

Hughes, C.M., 2019. Multivalent Masculinities in the Northern Irish Post-Conflict Novel (Doctoral dissertation, Ulster University).

Johnson, C. Haute Couture is Frivolous; Fashion is not: What Fashion is and why it is More Than a Catwalk Trend by Charlotte Johnson.

Kolokytha, C., 2016. Formalism and Ideology in 20th century Art: Cahiers d’Art, magazine, gallery, and publishing house (1926-1960) (Doctoral dissertation, Northumbria University).

Krick, J. 2004. Charles Frederick Worth (1825–1895) and the House of Worth, Retrieved 13 January, 2020, Retrieved from https://www.metmuseum.org/toah/hd/wrth/hd_wrth.htm

Marketti, S.B. and Parsons, J.L., 2007. American fashions for American women: Early twentieth century efforts to develop an American fashion identity. Dress, 34(1), pp.79-95.

Mason, M., 2011. The impact of World War II on women’s fashion in the United States and Britain. Retrieved 13 January 2020, Retrieved from https://digitalscholarship.unlv.edu/cgi/viewcontent.cgi?article=2391&context=thesesdissertations

Monet, D., 2019. Fashion History: Women’s Clothing of the 1950s. Bellatory. Retrieved 13 January 2020, Retrieved from https://bellatory.com/fashion-industry/Fashion-History-Womens-Clothing-of-the-1950s