The Craftmanship of Haute Couture ... The details and how they do it.

Ghost said:
.Dior seamstress may be the most pitiful ones in Paris
when Chanel seamstress may have done 3 couture while Dior seamstress are still struggling on huge gown

And with what preknowledge or authority are you saying this? Not that I know any better but it seems a bit harsh. From what I understand Galliano's toiles are not the easiet to make and he's quite demanding in the atelier.
 
^ several seamstresses work in each creation, i´ve read in one dress up to 19 people interfer, oh!, and may i say i will love to be one of those pitiful people :smile:.
 
Mutterlein said:
And with what preknowledge or authority are you saying this? Not that I know any better but it seems a bit harsh. From what I understand Galliano's toiles are not the easiet to make and he's quite demanding in the atelier.

ohhhhh i see.. it seems like you have more preknowlege or authority than me:huh:

Yes kikidior i also want to be tortured by gallinao in those marvelous fantastic creations. lol
 
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No, that's not what I meant. I was just curious if you knew more about couture Ateliers or had some insider knowledge. From what I know, a lot of the workers and technicians shift houses now and then going from Lacroix to Dior to Chanel and such. Chanel's current Atelier manager came from Lacroix for example. I don't think any one house is severely lacking in skill but I can imagine one such as Chanel being able to competively hire the best.
 
ok i'm also trying to say that since galliano has been producing biggest and most bulky and complicated gowns among other couture houses, it will be much busier for Dior seamstresses compared to working in Chanel which produces small little dresses
 
This thread is so interesting. I listened to Tim Gunn's podcast where he was explaining the meaning and process of Couture designs. I had no clue the designers had to given a designation by the French government.

Before WWII there were around 300 couture houses! But apparently so many have fallen off because supporting a couture house is so expensive (and not too profitable). Now there are only around 7 houses.
 
Oh My God! I would love to work in couture as a seamster(male seamstress). It is such an art.
 
for all of you that would like to work as a seamstress/seamster check out
http://www.lesage-paris.com/
you'll see information about how long the haute couture courses are... and then you many imagine how many years of practice it takes to get acquainted with all this knowledge.
i think chanel bought this haute couture atelier not long ago so that it doesnt disappear. they are risponsible for most of the broderies in karl shows. You may have noticed, he is using lots of delicate embelishments lately (paris-ny, couture ss06, etc)
 
i want to watch signe chanel..
got any other pics showing couture making???
 
from Fashion-era.com

I left the introductory part about the meaning and price out since this has already been posted several times. more is available on the website for those who want to read the whole thing :flower:



Exclusive Expensive Haute Couture Fabrics

The fabrics available to the couture house would be very luxurious and include the latest novelty fabrics and expensive silks, fine wools, cashmeres, cottons, linens, leather, suede, other skins or furs. In the case of a famous design house the design and colour of a cloth, may be exclusively reserved for that couture house.
Outside specialists make accessories either by design or inspiration. Hats, trimmings, buttons, belts, costume jewellery, shoes and innovative pieces are finely crafted to complement the fabrics and fashion ideas being created. Superb craftsmanship, a fresh idea and publicized internationally renowned names all command a price to match. Those able to afford couture are happy to pay for exclusivity and the privacy afforded by the system.
Toiles are Sample Garments

Designers create their initial designs either by using muslin, which drapes well for flowing designs or by using linen canvas or calico for more structured garments such as tailored garments. These sample models are called toiles and save using very expensive fabrics that can cost a £100 or more a metre. The toile can be manipulated, marked and adjusted to fit a particular live model's measurements until the designer and his sale staff are all satisfied.
The final toile of a design idea is an accurate interpretation of the line or cut right down to the button placement or hemline that the designer is seeking. Once satisfied the designer instructs his staff to make up the garment in the selected and exclusive materials. One seamstress or tailor will work on the garment from start to finish. The cutting and finishing is done in one room and the workroom manageress is responsible for everything produced in that room.

Haute Couture - Appointments Only Please

When a customer decides to order a Haute Couture garment she needs to first make an appointment with the design house prior to any visit to Paris. Model garments from collections are sometimes out of the country being presented elsewhere. Some couture houses provide a video of the collection to serious purchasers.
The Haute Couture Order

Once given an appointment the client is looked after by a vendeuse, an important saleswoman responsible for customers, their orders and supervision of their fittings.
The vendeuse gets commission on the clothes of her own particular group of clients.
From the moment a client is received at the salon the client is helped and humoured through all stages of fitting and sudden difficulties. A difficulty could for example be another client from the same city who wants the exact same design and colour garment for a prestigious function. The vendeuse smoothes out such problems knowing full well what a disaster it could be for two women to pay vast sums for an exclusive haute couture item only to bump into the acquaintance at the same venue in the identical outfit.

Every ensemble ordered is made to the requirements of each individual client. After choosing the model she wants, a customer is measured and has to be prepared for 3 fittings, sometimes more.
After a fitting and adjustments noted the garment is laid mis à plat. This means it's laid flat on the table, taken to pieces, adjusted and put together again ready for the next fitting.
The vendeuse holds discussions between stockroom, embroiderers, furriers and client. Her final inspection of a garment and her expectation of the highest standards ensures it's approved as couture and suitable to release to a client. Eventually the garment fits like a glove highlighting the client's good figure points and diminishing bad figure flaws.
 
from radio.weblogs.com. i found it quite interesting

The Physics of Haute Couture



In this article, Nature tells us that mathematicians have set up "equations that predict how fabric will fold." This theory of drapery could help fashion designers build clothes that hang straight. It also will allow computer animators to "model more realistically how clothes hang and move."
L. Maha Mahadevan of Harvard University in Cambridge, Massachusetts, and colleagues have come up with equations that predict the number and shape of folds in a draped sheet. The equations could be applied to anything from skirts to curtains.​
The folds of draped fabrics have captivated artists and designers for hundreds of years, but only recently have scientists begun to understand what controls all those pleats and wrinkles.​
Mahadevan has studied wrinkles and crumples for a while. Be sure to read "Folding, Wrinkling, and Crumpling," illustrated by a chiaroscuro by Leonardo da Vinci (ca. 1500) showing that a crumpled sheet exhibits deformations that are strongly localized around peaks and ridges (Credit: L. Maha Mahadevan).
crumpled_sheet.jpg
You also can take a look at "New Wrinkle On Fighting Crow's Feet," which says that plastic garbage bags, human flesh, and the skins of apples all have wrinkles. Here is a photo showing these "crow's feet" wrinkles that appear around people's eyes as they age (Credit: L. Maha Mahadevan).
crow_feet.jpg
Now, let's go back to Nature and at other benefits from this mathematical theory of drapery.
Mahadevan?s equations could also allow clothing companies to give online shoppers a personalized, virtual view of how a garment will look on them -- something they are keen to do as web-based retailing gathers pace. "We don't have a formula for this stuff," says fabric modeller David Breen of Drexel University in Philadelphia. A mathematical model of drapery "could make things a lot easier", he says.​
Part of the problem, says Breen, is that cloth is so stiff in the two dimensions that make up the plane of the cloth, but very floppy when it comes to folding in the third dimension. What also makes the maths so hard is that when a sheet of thin fabric crumples, nearly all the deformation gets concentrated into a single point or line, where the fabric kinks sharply. Determining where that point or line will fall is a tricky proposition.​
This research work has been published by the Proceedings of the National Academy of Sciences on February 6, 2004 under the name "The elements of draping." Here is the abstract.
We consider the gravity-induced draping of a 3D object with a naturally flat, isotropic elastic sheet. As the size of the sheet increases, we observe the appearance of new folded structures of increasing complexity that arise because of the competition between elasticity and gravity. We analyze some of the simpler 3D structures by determining their shape and analyzing their response and stability and show that these structures can easily switch between a number of metastable configurations. For more complex draperies, we derive scaling laws for the appearance and disappearance of new length scales. Our results are consistent with commonplace observations of drapes and complement large-scale computations of draping by providing benchmarks. They also yield a qualitative guide to fashion design and virtual reality animation.​
Sources: Philip Ball, Nature, February 4, 2004; and various websites
 
I have always been in interested in haute couture. It's so fascinating the detail and hours and other things that go into it. :heart:
 
Lena said:
totally BETTER off the runway and made up in cheap white fabric :D

since rich fabrics are absolutly useless without this people's maestry in cut
 
oh oh!! beautiful article about how couture pieces are sold, the vendeuse role, etc...
can that vendeuse be a vendeur (man)?? i'd love to do that!!!
 
borjacapella said:
oh oh!! beautiful article about how couture pieces are sold, the vendeuse role, etc...
can that vendeuse be a vendeur (man)?? i'd love to do that!!!


hmmm... i wonder if that would work! the problem is clients will be dressing and undressing most of the time in front of you during fittings and most females would probably not feel comfortable doing that around a man.:blush: but hey.. you never know. you might turn out to be the best !
 
I've posted this before but I just wanted to explain that selling clothes to special clients with a vendeuse in Haute Couture is a slight myth.

Yes, all of the houses did do this but it wasn't the only way you could buy Couture. Often boutiques and department stores would order different models (they call each garment a model) to be be resold in their store. Fittings would take place there, but they were not nearly as intensive as they are in the Atelier.

Couture houses really made a big chunk of their money by selling models to RTW manufacturers to be copied and sold in deparment stores. They charged extremely high fees for this and part of the agreement required the orginal house's name to be present on the label. There was also a restriction on when the copies could be avilable for sale, usually after the house itself had done its own business with wealthy clients. Most houses recovered their operating costs in this manner.

Couture comes from the days when people still went to dressmakers or did their own sewing. Instead of going to a dressmaker who would copy the latest styles, you would go to a Couturier with their own designs and HIS (or her) dressmakers would make the clothes for you. Most of the larger houses employed hundreds of seamstresses in work shops for flou (draped pieces) and taileur (tailored pieces). A model could be as simple as day suit or a pleated skirt. It wasn't until the 70's and YSL's theatrical shows that Haute Couture became a stage for spectacles and evening wear.

The old fashioned way of buying clothes from dressmakers has died out almost completely and this is why Haute Couture has died, it's not so much the labor intensive craft, but to order a dress weeks in advance (which is what everyone did at one point, not just the wealthy) is no longer practical.

An yet, another myth that Haute Couture houses didn't engage in RTW until Pierre Cardin and Yves Saint Laurent, Dior had RTW in the 50's with "Christian Dior Boutique". He also licensed his name out to numerous products.
 
Mutterlein said:
A model could be as simple as day suit or a pleated skirt. It wasn't until the 70's and YSL's theatrical shows that Haute Couture became a stage for spectacles and evening wear. quote]


thanks for clearing that up mutterlein. but i'm kind of confused :P i thought haute couture started as evening wear since the days of Charles Frederick Worth who is considered the first person to start haute couture. did YSL take houte couture to a different direction or just back to what it was?
 
this thread is magnificent....
thankyou thankyou thankyou to everyone posting articles and knowledge...
it is so interesting and such a great help....

it has given me a much greater appreciation for couture...
i was completely ignorant before......

and i completely agree with whoever said the couture outfits look better off the runway in the cheap white muslin !
where you can see their structure and form and beautiful shape.....
it totally changes my idea of these dresses......

the theatrics just distract and confuse my untrained eye-

i wish they'd keep them simple fabric-wise and complex construction-wise as they are when they're in the process of making them.......they look beautiful that way !

:heart:
 
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