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Paris Capitale De La Mode Construction De Savoir-Faire Et Remise En Question Du Mythe De La Ville-Lumière

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Paris Capitale De La Mode Construction De Savoir-Faire Et Remise En Question Du Mythe De La Ville-Lumière Paris capitale de la mode Construction de savoir-faire et remise en question du mythe de la Ville-Lumière Delphine Barthier Mémoire de 4ème année Séminaire : La fabrique culturelle Sous la direction de : Claire Toupin-Guyot 2013-2014 Paris capitale de la mode Delphine Barthier Demph Remerciements Je tiens à remercier tout particulièrement Madame Toupin-Guyot pour sa disponibilité tout au long de la rédaction de ce mémoire. Je la remercie pour le temps consacré à répondre à mes interrogations concernant ce travail et pour son soutien dans mon orientation. La qualité de son enseignement dans le cadre du séminaire la Fabrique Culturelle et du cours d’Histoire culturelle a été un précieux outil pour la rédaction de ce mémoire. Mes remerciements s’adressent aussi aux interlocuteurs qui ont acceptés de répondre à mes interrogations avec gentillesse et professionnalisme. Je remercie donc David Zajtmann, professeur à l’Institut Français de la Mode pour la pédagogie dont il a fait preuve et pour le temps qu’il a consacré à me recevoir. Pour son extrême sympathie, je remercie également Christophe Girard, maire du IVème arrondissement qui m’a reçu en pleine période électorale pour partager avec moi son expertise sur la politique et la mode. Toute ma gratitude s’adresse également à ma cousine Céline Regnard qui a multiplié les efforts pour m’obtenir un rendez-vous auprès de Loïc Prigent. Je souhaite remercier ma famille et mes amis qui ont soutenu mes efforts tout au long de mon travail de recherche et de rédaction. Enfin, j’adresse un merci particulier à mon amie Costanza Spina, pour avoir partagé avec moi son amour de la mode et pour son investissement dans la réalisation de notre module projet commun. 2 Paris capitale de la mode Delphine Barthier Demph Table des illustrations Illustration 1, p 42 – Plan du quartier de l’Opéra avant 1909. Source : Carte RATP.fr Illustration 2, p 44 – Plan du quartier des Champs Elysées à partir de 1909. Source : Carte RATP.fr Illustration 3, p 47 – Défilé Chanel Automne Hiver 2010 au Grand Palais. Source : <http://www.be.com/blogs/louison/mode-1543630/defile-chanel-palais-128258.html>, (consulté le 20 février 2014) Illustration 4, p 49 – Publicité pour le parfum « Paris », par Yves Saint Laurent, 1983. Source : <http://bettyboop60-bettyboop60.blogspot.fr/2013/05/paris-je-taime-avec-anja-rubik.html>, (consulté le 3 mars 2014) Illustration 5, p 52 - Liste des plus illustres couturiers parisiens. Source : Fouchard, Gilles, Idées reçues : la mode, le Cavalier Bleu Editions, 2004 Illustration 6, p 56 – Inès de la Fressange en Chanel. Source : <http://rdujour.com/index.php?s=Ines+de+la+Fressange>, (consulté le 20 avril 2014) Illustration 7, p 88- Illustration 7 - Matrice BCG théorique des produits proposés par une maison de haute couture. Source : Agogué, Marine, Nainville, Guillaume, La haute couture aujourd’hui : comment concilier le luxe et la mode, Gérer et comprendre, Mars 2010, n°99. 3 Paris capitale de la mode Delphine Barthier Demph Table des sigles et abréviations ANDAM : Association Nationale pour le Développement des Arts de la Mode CFDA : Council of Fashion Designers of America LVMH : Louis Vuitton Moët Hennessy PAIS : Protection Artistique des Industries Saisonnières PFW : Paris Fashion Week PPR : Pinault Printemps Redoute RTW : Ready To Wear, traduction anglaise du prêt-à-porter SHC : Société de l’Histoire du Costume SMCP : Sandro Maje Claudie Pierlot 4 Paris capitale de la mode Delphine Barthier Demph Sommaire Introduction ................................................................................................................ 6 Chapitre 1. Paris Capitale de la mode, une hégémonie fondée sur la haute couture.......................................................................................................................16 I- La haute couture, un savoir-faire artisanal constitutif de la domination de Paris.............16 II- Une mode parisienne légitimée par la vigueur de ses institutions.....................................29 Chapitre 2. Paris Capitale de la mode, une hégémonie construite sur l’aura de la Ville-Lumière............................................................................................................41 I- Paris, un écrin d’exception pour la mode.....................................................................41 II- La patrimonialisation de la mode par la capitale française ...........................................57 Chapitre 3. Paris Capitale de la mode, une hégémonie menacée ? .....................71 I- Paris face à la globalisation ................................................................................................71 II- Les stratégies de la France pour que sa capitale conserve sa position hégémonique........85 Conclusion................................................................................................................100 5 Paris capitale de la mode Delphine Barthier Demph Introduction : « Paris fait plus que la loi, il fait la mode ». Victor Hugo, Les misérables. Mon ambition de travailler sur le vaste sujet de la mode française a été motivée par mon intérêt grandissant pour cet univers. Après avoir passé sept mois à New York en stage au cours de ma troisième année, je suis rentrée en France pour effectuer un second stage auprès d’une Américaine, ancienne styliste et aujourd’hui critique et journaliste de mode. J’ai donc fait mes premiers pas dans l’univers de la mode parisienne au moment de la Fashion Week haute couture qui s’est déroulée du 1er au 5 juillet 2013. C’est en assistant à plusieurs défilés de haute couture que j’ai commencé à m’interroger sur la fascination qu’exerçait Paris sur le monde de la mode. En observant les mouvements de foules hystériques à la sortie des défilés je me suis demandée : Pourquoi dit-on que Paris est la capitale de la mode ? J’ai interrogé ma maitre de stage pour comprendre comment elle avait pu quitter New York (qui me manquait déjà) pour Paris. Elle m’a répondu que lorsque la mode new yorkaise a été dévastée par le SIDA à la fin des années 80, le choix de venir exercer son métier à Paris s’était imposé à elle. En matière de mode, Paris serait donc une évidence ? Le sujet « Paris capitale de la mode » n’a pas été le premier sujet auquel j’ai pensé pour ce mémoire. J’avais une réelle envie de travailler sur la mode mais sans savoir réellement comment aborder un tel sujet. Au début de ma phase de recherche, je voulais centrer mon analyse sur le concept de Fashion Week. Il m’avait semblé en démarrant mes lectures qu’il n’existait pas d’analyse portant sur les semaines de la mode à travers le monde. Jugeant que le sujet était trop périlleux et pas assez documenté, j’ai voulu revenir sur les origines de ce que l’on appelle un défilé de mode afin de pouvoir étendre une partie de mon analyse à l’étude du phénomène des Fashion Weeks. Mes premières recherches se sont concentrées sur l’histoire de la mode, un angle scientifique nécessaire pour entamer mon travail. Or à la lecture de 6 Paris capitale de la mode Delphine Barthier Demph nombreux ouvrages sur la mode française, j’étais immanquablement ramenée à étudier l’apparition de la haute couture et de l’influence de ce savoir-faire sur la mode française actuelle. Paris est le berceau de la haute couture. Cette découverte m’a poussé à m’interroger sur la place de Paris dans l’imaginaire de la mode international et m’a conduit à formuler mon sujet : Paris capitale de la mode, Construction de savoir faire et remise en question du mythe de la Ville-Lumière. Effectuer un mémoire dans le cadre du séminaire « La Fabrique culturelle » sur le thème de la mode, c’était saisir l’opportunité d’effectuer un travail de recherche scientifique sur l’objet de ma fascination : la mode parisienne. Les recherches que j’ai menées pour écrire ce mémoire m’ont permis au fil de mes lectures de me forger une culture sur l’Histoire de la mode et du luxe absolument nécessaire à la poursuite d’une carrière dans ce domaine. L’occasion m’était alors donnée d’approcher un sujet vaste comme celui de la mode, au prisme d’une problématique spatiale plus précise. Effectuer un mémoire sur le thème de la mode m’a également permis d’aller à la rencontre de professionnels du secteur, ce qui constitue à mon sens un réel enrichissement professionnel et personnel. J’espère avoir l’occasion de me servir de ce mémoire pour atteindre mes objectifs professionnels car il témoigne de ma capacité d’analyse en histoire de la mode et du luxe. Avant de passer à la phase d’analyse, il a fallut au préalable définir les termes clefs du sujet. Le dictionnaire Larousse définit la mode comme une manière de vivre, de se comporter, propre à une époque, à un pays. Le premier sens du mot mode est donc celui d’un phénomène social, il décrit une manière de se comporter en société. Mais si on s’intéresse à la dimension textile de la mode, elle désigne alors l’aspect caractéristique des vêtements correspondant à une période bien définie. Si l’on couple ces deux définitions, la mode est donc un phénomène social et sociétal qui évolue dans le temps. Le terme mode désigne également un commerce, une industrie et un corps de métier. Paris serait donc la capitale de la « mode », où le terme mode est pris dans son acception large, comme façon de s’habiller selon une période donnée mais aussi comme corps de métier. 7 Paris capitale de la mode Delphine Barthier Demph Si le sujet Paris capitale de la mode avait fait l’objet d’une thèse, on aurait pu s’interroger sur la prétention de Paris au titre de capitale du luxe. La mode et le luxe en France sont souvent associés et mis sur le même plan. Il arrive dans certains articles de presse que l’on fasse mention de Paris comme la capitale mondiale de la mode et du luxe. Avant de centrer uniquement mon analyse sur la mode parisienne, il a fallu étudier la définition du luxe pour pouvoir mieux l’écarter de mes recherches.
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