PARIS PARIS CAPITAL OF FASHION September 6, 2019–January 4, 2020
Seventh Avenue at 27th Street, New York City CAPITAL Hours: Tuesday–Friday, noon–8 pm Saturday, 10 am–5 pm Closed Sunday, Monday, and legal holidays Admission is free. FASHION
#ParisCapitalofFashion #MuseumatFIT ftnyc.edu/paris
Paris, Capital of Fashion has been made possible thanks to the generosity of the Couture Council of The Museum at FIT, The Coby Foundation, and the New York State Council on the Arts, with the support of Governor Andrew Cuomo and the New York State Legislature. This project is supported in part by an award from the National Endowment for the Arts. John Galliano for Christian Dior Additional support was provided by Chargeurs Philanthropies and Leach, a Chargeurs subsidiary. To fnd out more about how National Endowment for the Arts grants impact individuals and communities, visit www.arts.gov. Haute Couture, autumn/winter 2000-2001. Photo © Guy Marineau. Photos: Cover: Karl Lagerfeld for CHANEL’s Advertising campaign for the 1987/1988 fall/winter haute couture collection with Ines de la Fressange. Photo by Karl Lagerfeld ©CHANEL. Interior: John Galliano for Christian Dior haute couture, fall/winter 2000-2001. Photo ©Guy Marineau. aris has long been regarded as the international capital of fashion. PAccording to The New Yorker, Paris remains, despite competition, “the most
Robe à la française, 1755 –1760, France. glamorous and competitive of the world’s fashion capitals.” Paris has unquestion- ably played a very important role in the history of fashion. But Paris has also been mythologized, and this exhibition explores how the “aura” of Paris fashion was constructed over many generations.
“Fashion is to France what the gold mines of Peru are to Spain,” declared Louis XIV’s minister of finance, Jean- Baptiste Colbert. The statement may be apocryphal, but already by the 1670s, fashion and luxury goods were a source
The Duchess of Burgundy. of wealth and “soft power” for the French Antoine Trouvian. Paris, circa 1697. state. The splendor of the French royal Courtesy of Diktats Books. court at Versailles contributed greatly to French fashion prestige — or what critics called “French fashion hegemony over Europe.”
A capital is defined by the concentration of power, whether political, financial, or cultural. Philosopher Walter Benjamin famously described Paris as “the capital of the 19th century,” although London
John Galliano for Christian Dior Haute Couture, autumn/winter 2000-2001. Photo © Guy Marineau.
Emile Pasquier, ballgown, 1889 –1890, France. aris has long been regarded as was a much better candi- “the faces, the figures, and forced to draw on their own resources. the international capital of fashion. date. Not coincidentally, the francs.” In 1945, the haute couture gained legally PAccording to The New Yorker, Paris by the 1830s London had protected status, and in 1947 Christian remains, despite competition, “the most replaced Paris as the capital Just as the image of the Dior’s New Look inaugurated a new
Robe à la française, 1755 –1760, France. glamorous and competitive of the world’s of men’s fashion, and New chic Parisienne speaks to golden age for the Parisian couture. York would emerge later fashion capitals.” Paris has unquestion- transnational ideas about Madame Grés, circa 1945, France. ably played a very important role in the as the leader in ready to luxurious femininity, so also Over the years, London, New York, and Lent by Hamish Bowles. history of fashion. But Paris has also wear. Yet Paris was more does the idea of Paris fash- Milan have repeatedly challenged the been mythologized, and this exhibition than ever the capital of ion “work” across fashion dominance of Paris — without ever explores how the “aura” of Paris fashion women’s fashion. Paris = cultures. Manufacturers and permanently dethroning it. The Japanese
was constructed over many generations. La Parisienne = La Mode. (L) Suit by Gabrielle Chanel, 1966, retailers in other countries fashion revolution of the 1980s ended France, and (R) licensed copy of have often profited by cre- by reinforcing the prestige of Paris. a Chanel day suit, c. 1967, USA. “Fashion is to France what the gold The rise of the haute couture ating inexpensive imitations Today, many of the world’s most acclaimed mines of Peru are to Spain,” declared was crucially important to of Paris styles. Alternatively, designers choose to show their collections Louis XIV’s minister of finance, Jean- the consolidation of Paris as they could present, say, in Paris. More importantly, the head- Baptiste Colbert. The statement may a modern fashion capital. New York fashion as a quarters of many luxury conglomerates, be apocryphal, but already by the 1670s, In 1858, when Charles “liberating” alternative to such as LVMH and Kering, and private fashion and luxury goods were a source Frederick Worth established Parisian “dictatorship.” luxury fashion companies, like Chanel his couture house on the and Hermès, are based in Paris. More The Duchess of Burgundy. of wealth and “soft power” for the French Antoine Trouvian. Paris, circa 1697. state. The splendor of the French royal Rue de la Paix, Paris was Moving into the 20th century, than any other city, Paris has produced Courtesy of Diktats Books. court at Versailles contributed greatly already home to many “little” as Paris faced growing in- and maintained its brand image as the to French fashion prestige — or what dressmakers, but Worth ternational competition, the international “capital of fashion.” Jacques Fath for Joseph Halpert, critics called “French fashion hegemony created grande (big) couture, French increasingly presented cocktail dress, 1952, USA. over Europe.” which was soon known as the haute couture as the Valerie Steele haute (high) couture. Elite epitome of art and luxury, Director, The Museum at FIT A capital is defined by the concentration American women were and a part of the unique of power, whether political, financial, attracted by the prestige patrimony of France. During or cultural. Philosopher Walter Benjamin of Paris fashion, and Worth World War II, when Paris famously described Paris as “the capital recognized their importance was occupied by the Nazis, of the 19th century,” although London as clients, saying they had New York and London were Stephen Burrows, evening dress, 1973, USA.
Emile Pasquier, ballgown, Jean Paul Gaultier, spring/summer 1998, 1889–1890, France. France. Lent by Jean Paul Gaultier.