Heritage and Innovation: but despite his efforts to simplify women’s daytime clothes the usual effect was heavily , draped and fringed, and as stuffily claustro - phobic as the gewgaw-cluttered interiors John Redfern, and the associated with Victorian English taste”. Dawn of Modern The Kyoto Costume Institutes 2002 publi - cation of from the 18 th through the Daniel James Cole 20 th Centuries includes a short, partially accurate biography Redfern but with erro - neous life dates that would have him opening his business around the age of 5. Recent scholarship creates a different pic - ture of both Worth and Redfern. Pivotal to the history of clothing, Redfern’s story is only recently being rediscovered, and only in the past few years has a proper explo - ration and assessment begun (primarily by the work of Susan North). North (2008) puts forward the thesis that in the late 19 th century, Redfern and Sons was of equal importance to the House of Worth. It is even possible to assert that Redfern, and his legacy, were actually of greater importance as shapers of 20 th Century styles. An exam - ination of Redfern and Redfern Ltd., in Charles Frederick Worth’s story has been comparison to their contemporaries, calls told often and is familiar to fashion schol - into question not only the preeminence of ars. But while Worth has enjoyed a place of Worth, but also aspects of the careers of Paul significance in fashion history, the story of Poiret and Gabrielle . his contemporary, John Redfern has been The following explores how Worth and ignored, or at best reduced to mere footnote Redfern, in different ways, shaped the tastes status. Nearly all well-known fashion and fashion system of the 20 th Century – history survey texts give coverage of Worth, themselves, and through the businesses that but scant – if any – mention of Redfern. bore their names after their deaths. Their Contini, Payne, Laver, and Tortora and are intertwined with the major styles of the Eubank, all ignore Redfern. Millbank second half of the Nineteenth Century, and Rennolds, in Couture, the Great Designers their stories are interwoven with important omits Redfern while including some fashion icons of the time, and demonstrate markedly less important designers. Boucher the power of celebrity clientele to the suc - includes John Redfern, but distills his career cess of a design house. Both Englishmen, to a brief, mostly accurate, paragraph. In Worth and Redfern founded family busi - Fashion, The Mirror of History , the nesses; both men died in 1895 and both left Batterberrys interpret a Redfern plate as: there business in the control of sons and “Another Englishman, working in , the junior partners. But in addition to their tailor Redfern, had devised a neat “tailor- similarities, their stories emphasize their made” suit with a short jacket for women, differences. Charles Frederick Worth, and Worth & , in 1859. Worth set his sights on the Bobergh princess’s business; Mme. Worth paid a call to Princess Metternich, and extraordinarily, Charles Frederick Worth is acknowledged was received. Mme Worth presented the as the father of couture, rising from the princess a folio of designs and the Princess ranks of a notable fabric and dress business ordered two dresses, wearing one to court at in Paris, to leading his own house. As the the Tuileries Palace. “I wore my Worth story goes, Worth was catapulted to success dress, and can say… that I have never seen a by the court of the Second Empire. The more beautiful gown... it was made of white story of Worth’s rise to fame, and his associ - tulle strewn with tiny silver discs and ations with Princess Pauline Metternich trimmed with crimson-hearted daisies… and Empress Eugenie, is a familiar tale but Hardly had the Empress entered the one that has been embellished, even twisted throne-room…than she immediately over time, beginning with the rather mythic noticed my dress, recognizing at a glance memoirs of Metternich herself (1922), and that a master-hand had been at work.” of Worth’s son, Jean-Philippe (1928). (Metternich, 1922) Born in 1825, Charles Frederick Worth Eugenie’s admiration of the dress led to began his career at a drapery house. her own commissions from Worth and Moving to Paris in 1846, he found employ at Bobergh, catapulting Charles Frederick Gagelin-Opigez & Cie, a retailer of fabrics Worth to success as other ladies of the court and accessories, and a . While in patronized the business. their employ, Worth probably began design - This well-known story of Worth’s meteoric ing in the dressmaking department. Worth rise to stardom has recently provoked doubt. married a Gagelin-Opigez employee, Marie Worth scholar Sara Hume questions this Vernet, a at the store. Leaving in account on the basis that it is derived from 1857, Worth began his own business in part - loving, but unreliable secondary accounts. nership with Otto Gustave Bobergh, with “The legend that has grown up around his “Worth et Bobergh” on the label, and Mme name was built up in large part by memoirs Marie Worth working at the business. by his son and famous clients written well Records indicate that Worth and Bobergh after his death. After Worth had achieved was an emporium, much in the model of fame, his clients such as the Princess Gagelin-Opigez, and sold fabrics, and a Metternich, nostalgically wrote of his variety of shawls and outerwear, with ready prominence under the Second Empire”. made garments as well as made-to-measure (2003, p.80) couture (Hume, 2003, p.7). Hume also questions that the custom of Eugénie de Montijo, the Spanish-born wife Eugenie and Princess Metternich came as of Emperor Napoleon III, was the most early in the decade as 1860, or that he held important female style setter of Europe dur - a place of significant importance in the ing the years of the Second Empire and is system prior to mid-decade. associated with many fashions of the time. She notes that he did not receive mention in She encouraged glamour at the French French fashion magazines until 1863, and court that contrasted with the reserve of press coverage for the remainder of the Queen Victoria’s Court of Saint James. decade was not plentiful. In addition, Worth According to some accounts, Worth began and Bobergh did not use the designation his association with Princess Metternich, “Breveté de S. M. l’Impératrice ” until 1865. the wife of the Austrian Ambassador to Moreover, the number of existing Worth and Bobergh pieces in museum collections John Redfern of Cowes from this time is less than what such success would indicate (Hume, 2003). Across the English Channel, in the resort Worth’s status during these years has been town of Cowes on the Isle of Wight, the inflated retrospectively, and many other young John Redfern was transforming his dressmaking establishments were successful drapery house into dressmaking business. at the time. In these years, several were well John Redfern began his drapery business established. Mlle Palmyre, Mme Vignon, during the 1850s. Although his business Mme Laferrière, and Mme Roger, all developed slower than Worth’s, he eventu - contributed to the trousseau or wardrobe ally acquired a no less auspicious clientele, of Empress Eugenie, as did Maison Felix, including Queen Victoria, Alexandra and it was at this time that La Chambre syn - Princess of Wales, and Lillie Langtry. dicale de la Couture parisienne began. Also Growing over the course of the decade, the emerging in these years, was the great cou - business was established for dressmaking by turier Emile Pingat, who came to rival the late 1860s, and its subsequent steady Worth’s importance in late 19 th century growth rivaled the importance of The French couture. House of Worth for 40 years. “The frequent sobriquet of ‘inventor of In Cowes, Redfern was able to take advan - ’ gives the misleading impres - tage of the presence of Osborne House, one sion that…Worth introduced a completely of Victoria’s official residences; “the whole new method of designing and selling island benefited economically and socially clothes. In fact haute couture evolved grad - from the need to supply the Household and ually over the almost half century of the attending high society (North, 2008, Worth’s career and represents only a seg - p 146).” His sons John and Stanley joined ment of the new fashion industry which the business during the 1860s. The first developed through the century”. (Hume recorded clothing from John Redfern was 2003, p.13) However erroneous the tradi - noted at the 1869 marriage of the daughter tional accounts are, it is important to note of W.C. Hoffmeiter, Surgeon to HM the Worth’s designs for Eugenie and the court Queen; Redfern provided the wedding dress promoted French industry and had a favor - and the bridesmaids dresses (North, 2008, able impact on the textile mills of Lyon. p.146). Certainly the aristocracy noticed the Soon the house had an impressive client list, high-profile commission, and Redfern including Queen Louise of Norway, understood the power of celebrity to pro - Empress Elisabeth of Austria, along with mote his business in the coming years. stage stars and glittering demimondaines of At this time a change in dress was under - Paris. Although men would dominate the way: more sport and leisure activities were fashion industry in a short time, a man in developing specific clothing, and those the dressmaking business was still novel: women who could afford a diversified, spe - Worth earned the moniker “man milliner,” cific wardrobe sought more practical attire; and by transforming dressmaking from clothing for some activities showed the women’s work to men’s work, the activity affect of the Dress Reform movement. of designing fashions was taken more seri - Ensembles emerged, described in the fash - ously as an applied art. ion press of the day as “walking costume,” “seaside costume, and “promenade cos - tume.” More practical outerwear for women was being introduced, even “water - proofs” (Taylor, 1999). At the same time, museum collections. From all over Europe women’s equestrian clothes were crossing and North America, customers came to his over into town clothes in the form of a “tai - house, willing to make the trip to Paris. lor made” costume. For years men’s tailors Worth’s sons, Gaston and Jean-Philippe, were producing women’s riding habits, with joined the business in these years. His repu - jacket bodices made in masculine forms. As tation was now so noteworthy that Emile men’s tailoring standards developed, Zola created a fictional version of Worth in women’s riding clothes developed similarly, 1872. He excelled at the ornate draperies of and woolen cloth associated with men’s the bustle period, and he reveled in inspira - suiting began to cross over into the general tion from 18th Century modes, especially female wardrobe (Taylor, 1999). British tai - popular in the 1870s with polonaise style loring establishment Creed enjoyed the drapery in the manner of Marie custom of both Queen Victoria and Antoinette’s “shepherdess style.” Empress Eugenie for riding habits; opening However, Worth’s true creativity in these a Paris store in 1850, The House of Creed years (and in general) has been questioned, contributed significantly to this trend. As and his Hume reputation viewed as tailor made ensembles emerged, lighter inflated: “Monographs of celebrated fashion weight versions developed for summer designers, such as Worth, typically focus on activities outdoors. individual genius as a primary force in initi - John Redfern continued with success into ating new fashions. As an individual the coming years as a very fine ladies dress - designer, Worth may not have been the cre - maker. However, both of these trends – ative genius that his reputation may sport clothing and the tailor made – figured suggest. The traditional view that Worth prominently in Redfern’s career as the 1870s was a great innovator may be brought into began and his business expanded. While question by a comparison between fashion neither activewear nor the tailor made were plates and his designs”. (Hume, p.3) necessarily his “invention,” Redfern would In light of such opinion, it is possible to sug - do more to promote these styles than any gest that his true gift lay not in creating but other designer. interpreting trends – already present in such fashion plates – to suit the tastes of his rari - Worth After Bobergh fied clientele. It is in these years that Worth developed his system of mix and match Worth and Bobergh closed during the components of a gown (Coleman, 1989). A Franco Prussian War. Bobergh retired, and series prototypes of different sleeves, differ - Worth reopened as Maison Worth . The ent bodices, different skits were available to Third Republic left Worth without an be put together in different combinations empress to showcase his work, but other and different fabrics to create a toilette, European royals continued to give him maintaining for the client the impression of business. However the backbone of his an original creation. financial success now came from the wives By 1878, a new silhouette was developing. and daughters of American nouveau riche The understructure that enhanced the but - tycoons, who sought the overt prestige of a tocks went away, and a sleek silhouette Worth wardrobe over the work of their local emerged, and princess line construction was . His popularity with the essential to it. Worth was important to the American wealthy is attested to by the large popularity of this silhouette. Though he is amount of Worth dresses in American often credited with inventing the princess line (and supposedly naming if for return of the bustle in 1883, suited Worth’s Alexandra the Princess of Wales) vertical aesthetic perfectly. Extant examples of his seamed dresses went back to the middle work in museums from this time indicate a ages. In the late 1850s and1860s, loose synchronicity of the prevailing modes of the dresses with such vertical seams were worn day with his taste for flamboyant theatrical - in the as walking costumes, intended for ity – the “man milliner” cum artiste at his some measure of physical activity. In its finest. application to this new silhouette, this new Although Worth was now at the top of Paris style en princesse used the princess line fashion, many elite and moneyed customers seams in a smooth, fitted to the body sought other designers. Emile Pingat’s method, and the term was used to describe smaller business attracted the discerning both dresses (in one piece from the shoulder who appreciated the quiet elegance of his to the floor) and with bodices with similar work over Worth’s less subtle output construction. A correlation between (Coleman, p.177). Also in these years, princess line construction and the increased Doucet, a decades old emporium of shirts presence of women’s tailor made garments and accessories, launched a couture division has been made (Taylor, 1999): Charles headed by third generation Jacques Doucet, Frederick Worth, in developing and popu - and soon rivaled Worth’s importance. larizing the en princesse style was applying principles of tailored construction to dress - Redfern and Sons making, cannily on top of developments in women’s fashions. As the Third Republic left France (and the Not only did Charles Frederick Worth fashionable world) without an empress to develop the couture system, he may have be a fashion icon, more attention focused on truly invented the mystique of the fashion Britain’s royals. Alexandra of Denmark designer as idiosyncratic, exalted artist. became the Princess of Wales upon her mar - Worth needed a personality to suit his fabu - riage to Prince Edward in 1863. Although lous clientele – especially to appeal to the she was quickly celebrated for her style, her nouveau riche Americans – and the “man ensuing six pregnancies kept her out of the milliner” affected the role of great artist. He spotlight until she re-emerged in 1871 (well created an outrageous persona, wearing timed to coincide with Eugenie’s absence.) dressing gowns (sometimes trimmed with Alexandra’s style helped define fashion in fur or even tulle) and a floppy black velvet the next four decades. Also of importance beret. “Such attire satisfied the illusion of a as a fashion icon was the Prince of Wales’ creative genius at work (Coleman, p.25). mistress, Emily LeBreton Langtry. “Lillie” “Hollander in Seeing Through Clothes draws Langtry was the most noted of the a correlation between Worth’s affected look, “Professional Beauties,” society women cel - and images of Richard Wagner, and ebrated in the media simply for their looks, Rembrandt (1993): such romanticized and she was, likely, the first celebrity prod - deshabille was a calculated move, and such uct spokes model. Lillie’s hourglass affection may have been borne of a desire to proportions strongly contrasted the lithe mask a lack of genuine creativity with the Alexandra, but both women were widely image of a great artist. The 1880s saw celebrated for their beauty, and important to remarkable output from the house; the pop - the style of each were the fashions of John ular garish colors, the continuation of overt Redfern. historic inspirations, and the extremes of the By the early 1870s, fabrics from Redfern were in the wardrobes of Queen Victoria aristocratic women, and the influence from and Princess Alexandra, and their custom equestrian wear to the tailor made contin - was included in Redfern’s advertising. More ued. An avid horsewoman, Elizabeth of significant was the yachting boom that Austria set styles throughout Europe with came to Cowes with the Prince and Princess her riding habits; a favorite detail was mili - of Wales’ enthusiasm for the sport. British tary inspired frogs and braid in the style of Aristocrats, American nouveau riche , and the Austro-Hungarian military. This style other international elite were drawn to and other military inspiration quickly Cowes for the developing regatta, and par - found their way into women’s tailored cos - ticipated in other outdoor activities. The tume, including Redfern’s. yachting, the wealthy clientele, and the With royal patronage and coverage in the development of sport clothing combined to press, the business grew and expanded place Redfern at the right place at the right internationally. A London branch was the time. Redfern became the source for yacht - next to be established in 1878, where fash - ing and seaside toilettes, and sailors’ ionable gowns were available along with uniforms often served as design inspiration. sport and tailored clothes. Managing the Redfern set the benchmark in this category London store was Frederick Mims, who of clothing. Both the Princess and Mrs. took the name Redfern. In 1881 a Paris store Langtry enjoyed sporting activities often opened that took its place in the French wearing Redfern; as the widely imitated in fashion scene alongside Worth, Doucet, and anything they wore, they set the styles for Pingat. Leading the Paris store was Charles this type of clothing. Poynter, who also took the name Redfern. Genteel activities such as croquet and Under Poynter Redfern’s supervision, other archery were still enjoyed, but more vigor - stores opened in France, notably a store in ous sports were becoming more popular. the resort town Deauville. By 1884, Redfern These included hiking, golf, and shooting, and Sons had crossed the Atlantic, and and often ankle length skirts (without the opened a store in managed fashionable bustles of the time) were worn. by Redfen’s son Ernest. While Lucile and Tennis also grew in popularity, with special Paquin are both given credit for being the tennis ensembles. Redfern designed jersey first transatlantic fashion business, Redfern bodices and dresses for tennis (and other preceded both of them by more than 20 sports) and although Redfern was not the years. The Paris and New York stores only house that featured jersey garments, it offered the same variety as the London became associated with him. Both Mrs. store. Stores in Newport, Rhode Island, and Langtry and the princess wore them, and Saratoga Springs, New York catered to the they were documented in The Queen , the resort customer. While Redfern directly leading British fashion periodical. Redfern challenged Worth at the Paris store, they developed a strong relationship with the also appealed to a broader segment of the publication, realizing that paid advertising market, making the business the more sig - would lead to more editorial coverage nificant. While Maison Worth required its (North). clientele to come to the Rue de la Paix, Redfern continued to popularize the tailor Redfern and Sons, with branches in made. The style was a favorite of Princess England, France, and the United States, Alexandra who wore Redfern’s, attracted to brought its product to more of the fashion - the combination of style and practicality. able world. Riding continued to be a popular sport for Maison Worth after Worth Redfern Ltd.

By the early 1890s Charles Frederick In 1892, the company incorporated as Worth’s role in the house had declined, and Redfern Ltd. The death of John Redfern in as both sons were now active in the com - 1895 had little affect on the continued suc - pany, he essentially retired. Worth left the cess of the business; Redfern Ltd. had management of the business in the hands of transformed “from the most successful Gaston, who had already assumed much ladies tailoring business to an international managerial responsibility. The creative side couture enterprise equal of Worth” (North, was left to Jean-Philippe. The exact chain of 2009). Charles Poynter Redfern at the helm events is unclear, as is also the extent of of the Paris store, was the most important Worth senior’s continued role in the house; designer in the company and was equal many Worth dresses from 1889-1895 are of Jean-Philippe Worth, Jacques Doucet, unclearly attributed as whether father of son and . Featuring designs by designed them. “It is not possible to deter - Poynter Redfern, the company participated mine at what point Jean-Philippe became in the Exhibition Universal of 1900. During the lead designer for the house; however the 1900s, the focus of Redfern Ltd. was garments after 1889 show differences… that more on couture, moving away from its suggest a different designer” (Hume, 2003, activewear and tailored roots, although still p.11). offering selections in those areas. Nellie Melba, the noted Australian opera Underscoring that shift was the closure of star, was a long time Worth customer; the original Cowes store. Royalty still went Melba was particularly fond of Jean- to Redfern’s stores to be dressed, and Les Philippe saying “Jean himself was a greater Modes joined The Queen in devoting a great designer than his father had ever been” deal of editorial coverage to the house. (Coleman, 1989, p.29). The output of the North asserts that Redfern Ltd. was the house in the 1890s shows a remarkable syn - dominant force in Western fashion between ergy between fashion and L’Art Nouveau the years of 1895 and the 1908 work of and Japonisme styles developing in the other (2009). It is possible to actually applied arts. Like Redfern, Maison Worth establish the pre-imminence of Redfern also showed the affect of the Dress Reform continued even further into the next decade movement, however, that affect showed to 1911. Although these are few years, they itself in the form of ravishing, languid tea- are pivotal to fashion history. gowns along the rubric of Pre-Raphaelite Many dress historians treat Poiret’s 1908 and Aesthetic taste. These were “artistic” work as a watershed moment that capti - costume for the artistic aristocratic lady, and vated the fashionable world. One noted did not show the practical affect that had fashion historian (Deslandres, Poiret , manifested itself at Redfern. Rizzoli, p.96.) wrote “[as] if women had just The decade of the 1900s saw the house of Worth maintain continued success with been waiting for it, the Directoire line, beautiful gowns, but other designers over - revived by Poiret, redefined elegance shadowed its innovations and styles. Gaston overnight.” In light of the fact that Poynter Worth’s attempt to enliven the house with a Redfern and Paquin were already doing this young man named Paul Poiret proved short line, the extreme nature of such a pro - lived and unsuccessful. The client base had nouncement can be easily called into grown old, and now the aging house was question. Further, the fashion press paid dressing aging women. virtually no attention to Poiret until a few years later, making such an “overnight” these years, with their ersatz Near-Eastern impact on fashion impossible. Redfern’s themes were sensationalist and hype pro - output was well documented in the pages of voking, such as his “Minaret” dress and robe The Queen and Les Modes . Poynter Redfern sultane ; while much less elegant that his ele - advocated soft styles, taking inspiration gant languid Directoire looks of 1908, they from the 1780s and 1790s. He featured grabbed more publicity. The New York Times “Romney Frocks” of white mousseline in the began including Poiret in its fashion cover - manner of Marie Antoinette’s chemise à la age in 1910, and the rest of the fashion press reine , and Empire waist à la Grecque styles followed, so that during the next three years of Directoire inspiration – all beginning a he dominated the fashion media and was few years before Poiret’s 1908 collection prominently featured in the pages of (North, 2009). The commonly held, but Harper’s Bazaar, Femina , and The Queen . retrospective, opinion that this was Poiret’s Poiret was one of the participating designers “New Look” in terms of impact on wide - in the exciting new fashion journal, La spread fashion and taste is simply not . In addition to other supportable in this light. houses, the roster also included Worth and On 3 October 1909, The New York Times ran Redfern. The freshness of La Gazette du a full-page article on Paris fashions, cover - Bon Ton ’s style brought life to the two ing the looks for Autumn and Winter 1910. houses, and their designs as represented in The article celebrates Orientalist styles for Les Modes were still stylish. Redfern’s rele - the season, that included Byzantine and vance outlasted Worth’s by a decade, but by Egyptian inspiration, but most importantly now both houses were starting to decline Russian styles. Although many designers and the glory days of each house had past. are mentioned, Poynter Redfern is given the The affect on the aristocratic lifestyle caused most significance, and the New York Times by World War I impacted both houses fur - asserts that the Russian style was his cre - ther, yet each carried on for several more ation: “Redfern is a master at these Russian years. effects, which he is using very much this Also emerging in this decade was the busi - season for street costumes. He has just ness of Gabrielle “Coco” Chanel. Starting returned from Russia whither he goes in millinery, Chanel expanded into sports almost every summer.” Maisons Worth, clothes and couture during the course of the Doucet, and Paquin are all mentioned decade. A few aspects of her development along with other houses, but Poiret is not and story are worth considering. Her early mentioned at all. affair with the English-educated horse breeder Etienne Balsam exposed her to an The 1910s and Beyond equestrian set that certainly wore English riding apparel and sport clothes, likely from Paul Poiret became ascendant to Paris fash - Creed, Burberry and Redfern among others. ion, finally by around 1911. His knack for This certainly contributed to her very lean publicity lead to elaborate Arabian theme and tailored aesthetic that stood in sharp parties, and the press was hungry for the contrast with Poiret’s opulence. But of even exotic in the few years prior to the war. more importance was Chanel’s choice of Perhaps with Charles Frederick Worth as Deauville as the location of her fist sports - his role model, Poiret postured himself as wear boutique. Redfern Ltd had a Deauville the eccentric artist, and put forth his cre - store for sometime, selling the company’s ations as great works of art. His designs of signature sports clothes; the young Chanel would have unquestionably been familiar and activewear of the 20 th with Redfern’s product and sport clothes Century, and the gradually growing casual business model. An examination of Redfern aesthetic. The Redfern aesthetic could be designs from the decade underscores the tied to such influential fashion design similarity to the Chanel aesthetic. A tailor minds as Claire McCardell, Vera Maxwell, made costume from Redfern illustrated in , or , whose La Gazette du Bon Ton from 1914, and a work was not typified by runway spectacle sport ensemble from in the collection of the but rather by real clothes. Kyoto Costume Institute, dated c. 1915, both show a marked similarity to Chanel Daniel James Cole designs that came a short time later. Many Professor, FIT New York of Chanel signature styles, while strongly associated with her today, were actually pio - Special Thanks neered long before by Redfern, including, Karen Cannell, Fashion Institute of Technology most notably, the use of jersey for sports - Nancy Deihl, New York University Susan North, Victoria and Albert Museum wear. As for Worth, he left a legacy into the 20th century was of lavish couture gowns and Bibliography ensembles that have always been a major Arnold, Janet: “Dashing Amazons: The Development of Women’s Riding Dress,” Define Dress: Dress as feature of the French fashion industry. Object, Meaning, and Identity , ed. De la Haye, Amy and Edward Molyneux earned the nickname Wilson, Elizabeth, University of Manchester Press, “the New Worth,” as an Englishman who Manchester, 1999. conquered Paris, and he showed great Barwick, Sandra: A Century of Style , George, Allen, and Unwin, London, 1984. prowess for frosting his sleek elegant flapper Batterberry, Michael & Batterberry, Ariane: Fashion The dresses with glitter. Perhaps his most signif - Mirror of History , Holt, Rhinehart & Winston, Boston, icant contribution to the fashion industry of 1979. the 20 th Century was his invention of the Boucher, François & Deslandres, Yvonne: Twenty Thousand Years of Fashion , Abrams, New York, 1987. persona of fashion designer as flamboyant Blum, Stella: Victorian Fashions and Costumes from great artist; and the persona took on even Harper’s Bazaar, 1867-1898 , Dover Books, New York, more outrageous form in some of his suc - 1979. cessors. This can be exemplified in recent Calloway, Stephen & Jones, Stephen: Royal Style: Five Centuries of Influence and Fashion , Little Brown and years with the personalities and manner of Company, Boston, 1991. Karl Lagerfeld, , Cole, Daniel James and Deihl, Nancy: Fashion Since Alexander McQueen, and John Galliano, 1850 , Laurence King Ltd., London, 2012. among others. Coleman, Ann: The Opulent Era: Fashions of Worth, Doucet, and Pingat , New York, Brooklyn Museum, The legacy of John Redfern may actually 1989. define clothing in the 20 th Century. The Cunnington, C.Willet: English Women’s Clothing in the intellectual lineage of Redfern is monumen - Nineteenth Century , Farber and Farber, London, 1937. tal and exemplary of the entire history of Cunnington, Phillis Emily: English Costume for Sports and Outdoor Recreation , Barnes and Noble, New York, th 20 century clothing: John Redfern men - 1970. tored Charles Poynter Redfern, who in turn DeLaHaye, Amy & Tobin, Shelley: Chanel, The mentored Robert Piguet, who mentored Couturiere at Work , The Overlook Press, Woodstock, Christian , who lead the line to Yves 1996. DeMarty, Diane: Worth, the Father of Modern Couture , Saint Laurent. 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