The Secret World of Haute Couture (2007)
Тайный мир Высокой Моды/ The Secret World of Haute Couture
Документальный фильм (Великобритания, 2007)
You can watch this video on www.livejournal.com
"Высокая мода подобна "Роллс-Ройсу": так же шикарна и так же затмевает своего владельца" - Эммануэль Кан, 1964
В документальном фильме "The Secret World of Haute Couture" журналист BBC Марджи Кинмонс путешествует из Парижа в Нью-Йорк и Калифорнию, чтобы встретиться с дизайнерами и клиентами haute couture и объяснить феномен этого явления, что изменилось и как удивительно много осталось прежним в процессе создания Высокой моды. Со времен своего расцвета после Второй мировой войны число домов Haute Couture сократилось с сотни до едва ли десятка. Марджи Кинмонс заглядывает за кулисы показа Chanel Haute Couture весна/лето 2007. Мы увидим путь создания платья от эскиза до великолепного результата и что значит "hand made in Paris" и почему эти творения стоят так дорого.
Christian Dior S/S Haute Couture 1997
From missing page:
“The biggest copyists were the Americans,” says Golbin. “They were the Chinese of their day.” The shadow business of haute couture knockoffs was so huge that, between 1925 and 1928, The New York Times estimated, exports of original dresses from Paris dropped from half a billion francs to 10 million francs.
A circa-1952 poppy-red linen Balenciaga suit; Balenciaga’s black tissue-paper taffeta dress, ballooning sash, and velvet coat, from Vogue, October 1, 1951. By Henry Clarke/courtesy of Condé Nast Archives; by Horst/courtesy of Condé Nast Archives.
To stem these losses, a legitimate system known as patronage (patrons papier), commonplace until the 70s, was instituted. Foreign department stores and manufacturers could buy (at exorbitant rates) entrance to haute couture shows, and the price of admission was then deducted from their purchase of dress patterns or, for still more money, of the actual finished samples. Some big department stores, such as Ohrbach’s and Neiman Marcus, would buy up an entire collection’s worth of samples. Certain couturiers, such as Balenciaga, would not sell their patterns at any price. If a copyist had a tighter budget, he could acquire the more modest right of première vision-or “sneak peak.” As late as the mid-60s, 60 percent of the $20-million-per-annum turnover of Paris couture houses came from the sale of these reproduction rights-a rough precursor of present-day licensing. In 1949 an American model caught red-handed with bootleg Dior and Fath dress patterns by the French secret police was freed upon payment of a $9,000 fine to the Chambre Syndicale.
Vionnet closed in 1939, just before the German occupation, never to reopen. Elsa Schiaparelli, Chanel’s arch-rival, fled to America, where she toured, lecturing the nation’s women on their lack of elegance. Chanel, after presenting a patriotic tricolor-theme collection in 1939, shuttered her couture house, took up with a Nazi lover, and grandiosely conceived with him an espionage operation to help forge a separate peace between England and Germany. In his capacity as head of the Chambre Syndicale, master couturier Lucien Lelong established the membership regulations still more or less in place, and negotiated with the Nazis to allow the haute couture to remain in Paris. Hitler’s megalomaniacal plan had been to relocate Paris fashion lock, stock, and barrel to Berlin or Vienna. By thwarting this transfer, Lelong succeeded in keeping open 60 houses, and preserving the jobs of 12,000 workers. Among his own were the young Christian Dior, Pierre Balmain, and Hubert de Givenchy.
Balenciaga evening dress and hat, worn with Van Cleef & Arpels diamonds, in front of art by Vertès, from Vogue, circa 1953. By Henry Clarke/courtesy of Condé Nast Archives.
More than Diana Vreeland’s single fabric rose, what blossomed from the ruins of the Second World War was an entire hothouse of “women-flowers,” wrote Christian Dior, who founded his own firm in 1946, at 30 Avenue Montaigne. “Soft shoulders, full busts, fine waists like vines and wide skirts like petals.” Carmel Snow, the high priestess of Harper’s Bazaar, christened Dior’s curving, floriated, feminine creations the “New Look,” and until his death, a decade later, Dior could “lower forty million hems by lowering his pencil,” an American journalist wrote. Backed by the textile magnate Marcel Boussac, Dior could lavish on one pleated day dress a profligate 20 yards of fabric-a shock after wartime rationing. And the fortunes poured into Dior’s coffers exceeded even the extravagance of his clothing. One American customer confided to her saleswoman, “This year, as my husband is bankrupt, I shall order only ten dresses”-at an estimated cost of $10,000 each.
VF
Клиентки Haute Couture
Фотосессии Haute Couture
US Harper's Bazaar April 2002
"Couture"
Models: Naomi Campbell, Anouck Lepere, Sharon Ganish, Inga Savitz, Fernanda Tavares, Malin Persson, Karolina Kurkova, Eva Jay, Minerva Portillo, Delfine Bafort, Eugenia Volodina, Emanuel Ungaro, Karl Lagerfeld, Julien MacDonald, Valentino, Christian Lacroix, Jean Paul Gaultier & Oscar de la Renta
Photographer: Jason Schmidt
Stylist: Charlotte Shockdale
Magazine: Vogue US
Issue: March 1999
Title: Ravishing Couture
Photographer: Arthur Elgort
Model: Audrey Marnay
