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07/16/2009 08:45:35 AM · #1 |
In the good old days, the âHaute Coutureâ shows were the most anticipated of all of the collections. It was akin to the Formula 1 of the fashion world. It is unique to Paris and all of the greatest designers the likes of Hubert de Givenchy, Christian Dior, Chanel, Yves Saint Laurent, , Valentino, Jean-Louis Scherrer, Pierre Cardin, Emanuel Ungaro, Christian Lacroix and others would show the epitome of what they were striving for. These were prototypes of sorts and unique pieces of art that were considered the barometer of where fashion was going in the future. These architects of fabric and exotic materials would go to great lengths to establish their identity through their designs.
The press would come in hordes to get a view of these collections, to be the first to show them in their glossy fashion magazines. Shoots would be set up immediately after the collections and given to those magazines with the greatest influence on the public. Only the finest of glossies were given these collections to shoot and in order of priority. It was usually Vogue that was in place number â1″ and the rest would have to wait their turn. The constant bickering between Vogue and Harperâs Bazaar was always omnipresent. You could smell it in the air when the major editors would appear in the same room with each other.
The pecking order at the shows was very well defined and this was also mirrored in where the editors were positioned during the fashion shows. The first row was always a whoâs who of the fashion industry and often, shows would not commence until âTHATâ Editor in Chief was seated!
Unfortunately, times have changed and as a result of the social conditions, financial malaise and a radically shifted mind set, a new paradigm has emerged and âHaute Coutureâ seems to be unofficially at least, on Life Support. It is the âPret a Porterâ ready to wear collections that are now the âQueen of the Castleâ.
There are a few of the greats and some emerging new designers that are attempting to keep the boat afloat with interesting eclectic designs that are a kind of melting pot of âHaute Couture Meets Pret a Porterâ. Alexis Mabille is one designer that comes to mind, that I recently had the privilege to shoot for VOGUE Brasil.
Who knows, perhaps in a few years when we are out of this financial melt down, designers will have more time and money to play with and again produce pieces of art that will influence and inspire the fashion industry to take artistic risks again.
I certainly hope soâ¦
//www.benjaminkanarekblog.com/?p=707
Message edited by author 2009-07-16 09:02:23.
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07/16/2009 12:59:02 PM · #2 |
Frderique Renaut Ex-Jean Paul Gaultier wrote a counter argument to this article.
A Counter Argument to The End of âHaute Couture?â by: Frédérique Renaut
I am quoting Glenda Bailey, editor-in-chief of Harperâs Bazaar offering a compelling economic argument for the institutionâs importance:
âWhen it comes to couture, in addition to the craftsmanship, which we are in danger of losing, we have to think of the sheer amount of jobs it sustains. People say we should be saving, but actually we should encourage the people who have the means to spend. Too many people think itâs frivolous, but couture generates huge amounts of income.â
I have worked many years in several Parisian Fashion Houses (Louis Féraud, Yves Saint Laurent and Givenchy who was designed by Alexander McQueen at the time) and I have to say that Couture is not dead. Established fashion designers made a directional switch as they understood the importance of having a R&D department for their other lines of products (look at Jean Paul Gaultier who came in to Couture in 1997 and more recently Giorgio Armani).
These changes generate exposure and profits through the licenses of the name, but for a young designer who is trying to survive on the sale of its Couture Collection, it is almost impossible. Even the most established Couturiers encounter problems that have nothing to do with the true clients (which represent fewer than 200 on the planet. I am not talking about celebrities who the dresses are lent to for the red carpet event, but people who actually are paying for their dresses).
The biggest problem is who are the financial backers and what are their intentions⦠Look at what recently happened to Christian Lacroix (one of the most talented designers living today). He was a victim of those backers who have only one interest:
Short term dividends.
But I guess it is the same problematic in every businessâ¦
Frédérique Renaut ©2009
//www.benjaminkanarekblog.com/?p=723
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07/16/2009 01:04:58 PM · #3 |
| I enjoy your behind-the-scenes views of the industry Benji. Thanks for sharing! |
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07/16/2009 01:54:32 PM · #4 |
Originally posted by DrAchoo:
I enjoy your behind-the-scenes views of the industry Benji. Thanks for sharing! |
Ditto, always interesting. |
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07/16/2009 02:27:43 PM · #5 |
I recently had the privilege to shoot for VOGUE Brasil.
Congrats, and please let me know, I´d like to buy Vogue to see the photos. |
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07/16/2009 03:38:33 PM · #6 |
Gaultier's white shrouded model was taken as a haunting visage of the death of haute couture.
Take a look at that shot (you might have to scroll down) & tell me if your first reaction is to wish you could afford to buy haute couture? |
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07/16/2009 05:47:24 PM · #7 |
Originally posted by pixelpig:
Gaultier's white shrouded model was taken as a haunting visage of the death of haute couture.
Take a look at that shot (you might have to scroll down) & tell me if your first reaction is to wish you could afford to buy haute couture? |
That story caused a major stir in the industry. It was probably the first time the Editor in Chief of American Vogue did not show up for the Haute Couture shows...
Bad sign.
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