ABSTRACT
Up until World War II, the fashion world looked to Paris as the epicenter of fashion. The highest form of fashion, Haute Couture, was represented by the Chambre Syndicale de la Couture Parisienne, its designers presented collections for each fashion season. The couturiers produced made-to-measure garments of the highest quality for wealthy individuals. Couturiers also sold designs to retail stores along with the rights to copy and reproduce that design. It was through this second practice that designers held the most influence over worldwide fashion. Boutiques and dressmakers as well as fashion magazines would travel to France for the season’s fashion shows, and bring back couture dresses to copy and reproduce as well as ideas to manufacture their own knock offs. To be considered a top designer, one had to work in Paris; many designers traveled to Paris – to study, break into the business, and start their own lines. Most designers working in America before the war designed for the ready to wear industry, boutiques, or for a dressmaker’s shop, all of which lacked the prestige of Paris Couture. The outbreak of World War II and the occupation of Paris seriously impeded the Couture industry. Many Couture houses closed, few boutiques or fashion press traveled to Paris for fashion shows. This left a vacuum for American designers, who were less impacted by the war. Many Americans gained prominence during the war and maintained their popularity once Paris Couture rebounded. Fashion magazines that increased their coverage of American designers during the war continued to feature them after Paris reestablished itself. American designers, though
not part of the Chambre Syndicale de la Couture Parisienne, garnered similar respect within the fashion world, and their familiarity with the ready to wear industry greatly affected fashion in the postwar recovery. Today most all Haute Couture houses produce ready to wear, known as prêt à porter, along with couture originals.
