French Fashion Luxury Items Such as Haute Couture Sells Mostly in:

Overview of way in the French Democracy

Fashion in France is an important discipline in the civilization and country's social life, besides, being an important part of its economy.^[i]

Fashion design and production became prominent in France since 15th century. During the 17th century, fashion exploded into a rich manufacture, for exportation and local consumption, the Royal Minister of Finances, Jean-Baptiste Colbert, says "Fashion is to France what the gold mines of Peru are to Kingdom of spain...".^[2] In the 19th century, manner fabricated a transition into specialisation for modernistic term haute couture, originated in the 1860s, bringing good taste to fashion argot. The term prêt-à-porter was born in the 1960s, reacting against the traditional notions of mode and garment-making process, satisfying the needs of popular culture and mass media.

Paris acts every bit the heart of the fashion industry and holds the name of global manner capital. The metropolis is home to many prime designers, including Chanel, Louis Vuitton, Givenchy, Balmain, Christian Louboutin, Pierre Cardin, Yves Saint Laurent, Roger Vivier, Thierry Mugler, Christian Dior, Jean Paul Gaultier, Hermès, Lanvin, Chloé, Rochas, and Céline.^{[3] [iv]}

With the decentralization of the fashion industry, many cities including: Lyon, Marseille, Bordeaux, Toulouse, Lille and Strasbourg have their own luxury districts and avenues. In recent times, these have get important customers and significant producers. Île-de-France, Manosque, La Gacilly (nearly Rennes), and Vichy lead the corrective industry, and house well-known international beauty houses such as L'Oréal, Lancôme, Guerlain, Clarins, Yves Rocher, L'Occitane, Vichy, etc. The cities of Squeamish, Cannes and St. Tropez among others in the French riviera are well known equally places of pleasance, annually hosting many media celebrities and personalities, potentates, and billionaires. The clothing of France is famous throughout the world.

History [edit]

17th century, the Baroque and Classicism [edit]

Manner prints [edit]

The association of French republic with fashion and style (la mode) is widely credited equally first during the reign of Louis XIV^[5] when the luxury goods industries in France came increasingly under regal control and the French imperial court became, arguably, the arbiter of taste and fashion in Europe. The ascent in prominence of French fashion was linked to the creation of the mode printing in the early 1670s (due in large part to Jean Donneau de Visé), which transformed the style industry by marketing designs to a broad public exterior the French courtroom^{[half dozen]} and past popularizing notions such as the style "season" and changing styles.^[7] The prints were usually fourteen.25 Ten 9.5 and depicted a man or woman of quality wearing the latest fashions. They were unremarkably shown head to toe, merely with no individuality or defined facial features. Sometimes the figure would be depicted from behind in order to showcase a unlike side of the clothing. Although the individual in the prints was oft crudely sketched, the garment itself was impeccably drawn and detailed. Accessories to the garment also received nuanced attention.^[8]

Louis XIV, although later hailed as a patron of fashion, did non actually have a large part in its spread and proliferation—which was due to the fashion prints. The fashion prints were ubiquitous, but Louis XIV neither sponsored nor hindered their product and proliferation, and largely stayed out of it unless the prints of himself specifically were treasonous, satirical, or caricatures.^[9]

Style in majestic portraits [edit]

Over his lifetime, Louis deputed numerous works of art to portray himself, among them over 300 formal portraits. The earliest portrayals of Louis already followed the pictorial conventions of the day in depicting the kid king as the majestically majestic incarnation of France. This idealisation of the monarch continued in later on works, which avoided depictions of the result of the smallpox that Louis contracted in 1647. In the 1660s, Louis began to exist shown as a Roman emperor, the god Apollo, or Alexander the Slap-up, as can be seen in many works of Charles Le Brun, such every bit sculpture, paintings, and the decor of major monuments. The depiction of the King in this mode focused on allegorical or mythological attributes, instead of attempting to produce a true likeness. Every bit Louis anile, so as well did the style in which he was depicted. Nonetheless, at that place was still a disparity between realistic representation and the demands of royal propaganda. In that location is no amend illustration of this than in Hyacinthe Rigaud's ofttimes-reproduced Portrait of Louis Fourteen of 1701, in which a 63-year-quondam Louis appears to stand up on a fix of unnaturally young legs.^[x] In 1680, Louis began to be portrayed directly rather than in a mythological setting. This began the "fashion portraits", which were prints that depicted the King wearing the notable fashions of the flavor.^{[nine] [eleven]} These prints were also largely unofficial, which meant printers were unaffiliated with the Crown. They largely went unchallenged by authorities, however, as long as they portrayed the King in a positive low-cal. Those who did portray the King satirically or with the utilize of caricature faced imprisonment.^[9]

Rigaud's portrait exemplified the height of purple portraiture in Louis's reign. Although Rigaud crafted a credible likeness of Louis, the portrait was neither meant equally an practice in realism nor to explore Louis's personal character. Certainly, Rigaud was concerned with item and depicted the King's costume with bully precision, down to his shoe buckle.^[12] However, Rigaud's intention was to glorify the monarchy. Rigaud'southward original, now housed in the Louvre, was originally meant every bit a gift to Louis's grandson, Philip V of Kingdom of spain. However, Louis was so pleased with the work that he kept the original and deputed a copy to be sent to his grandson. That became the first of many copies, both in total and half-length formats, to exist made by Rigaud, ofttimes with the help of his administration. The portrait also became a model for French imperial and imperial portraiture down to the fourth dimension of Charles X over a century later. In his work, Rigaud proclaims Louis's exalted royal condition through his elegant stance and haughty expression, the royal regalia and throne, rich ceremonial fleur-de-lys robes, too every bit the upright column in the background, which, together with the draperies, serves to frame this image of majesty.

Trends [edit]

Louis XIV notably introduced ane of the most noticeable feature of the men's costume of the fourth dimension: immense wigs of curled hair.^[xiii] A commonly held belief is that Louis Fourteen started to wear wigs due to balding, and to imitate this his courtiers put on faux hair.^[13] The wearing of wigs lasted for over a century; they went through many changes, just they were never quite so exaggerated as during this period.^[thirteen]

Despite the rise of la way during Louis XIV'due south reign, many of the clothes he wore did not survive or were taken from the monarchy's possession. Much like the Crown Jewels, a French king did not actually own any of his clothes. They belonged to the Garde-robe du roi (Rex'due south Wardrobe), which dated back to the 16th century. Due to Louis 14's changes to the Male monarch's Wardrobe, officers had a right to the clothes once the monarch died, as long every bit they would not be used by the male monarch's successor.^[9] Furthermore, although the Louis Fourteen's formal wearable would modify along with the rest of la fashion, his ceremonial clothing did not, and remained with tradition.^[9] The king too used mode to create a certain effect or theme. During the matrimony of his neat-grandson Louis, Duke of Burgundy to Princess Marie Adélaïde, the French entourage dressed in bright colors and fashions to contrast with the more soberly dressed Spanish. This was in guild to seem younger and more virile than the Spanish courtiers.^[9]

18th century, the Rococó and early New classicism [edit]

The extravagant styles of the French Regal court racked upwardly enormous debts to proceed upwardly its step, at the peasants' expense. Such fashion sprees notably ruined Marie Antoinette's reputation, and were ane of the many factors paving the way for the French Revolution.^[13]

Marie Antoinette the Queen of France, in improvident 18th century French fashion.

Long after her expiry, Marie Antoinette remains a major historical figure linked with conservative and the Catholic Church building positions; and a major cultural icon associated with loftier glamour, wealth and a certain mode of life based on luxury and celebrity appealing today to the social and cultural elites; frequently referenced in pop culture,^[14] beingness the field of study of several books, films and other forms of media. Most academics and scholars, have deemed her the quintessential representative of class conflict, western aristocracy and absolutism regime in improver to being frivolous, superficial; and have attributed the showtime of the French Revolution.

The phrase "Let them eat block" is ofttimes attributed to Marie Antoinette, but in that location is no evidence she ever uttered information technology, and it is now generally regarded every bit a "journalistic cliché".^[15] It may accept been a rumor started past aroused French peasants as a form of libel. This phrase originally appeared in Book VI of the get-go part (finished in 1767, published in 1782) of Rousseau's putative autobiographical work, Les Confessions: "Enfin je me rappelai le pis-aller d'une grande princesse à qui l'on disait que les paysans n'avaient pas de pain, et qui répondit: Qu'ils mangent de la brioche" ("Finally I recalled the stopgap solution of a great princess who was told that the peasants had no bread, and who responded: 'Let them eat brioche'"). Apart from the fact that Rousseau ascribes these words to an unknown princess, vaguely referred to as a "not bad princess", some think that he invented it birthday as Confessions was largely inaccurate.^[16]

In 1700, the total monetary value of goods produced in France was documented at a rate of 5%. By the 1780s, gross domestic product rates had increased to 13%. The escalation in product was largely attributable to the growth of the material industry. The nail in consumerism was fueled past an overwhelming interest in high fashion which surpassed the boundaries of economic rank. French plebeian's wardrobes became increasingly valuable. Particularly in Paris, women began purchasing dupes of luxury items customarily worn by the aristocracy. These mode accessories included watches, buttons, and belt buckles.^[17]

The ascent in distinguishable fashion styles worn by lower form French citizens was exhibited past the coordination of patriotic clothing worn past the republican Sans-culottes. The Sans-culottes were the working class of French peasants who fought for liberty during the French Revolution (1789-1799).^[18] The Sans-culottes (lit. "without knee-breeches") rejected the powdered wigs and the knee-breeches assimilated to the nobility, and instead favored informal styles (full-length trousers, and natural pilus), which finally triumphed over the brocades, lace, periwig, and powder of the before eighteenth century.

Manner during the French Revolution greatly reflected the political climate of French republic. Sans-culottes were known to vesture the red cap of freedom, likewise chosen the Phrygian cap. This cap was a controversial symbol of rebellion worn exclusively by lower course revolutionaries. Furthermore, the official French colors of blue, crimson, and white (chosen to be the recognizable patriotic colors of the revolution in 1789), came together to form the tricolor cockade. The design of the tricolor cockade often appeared in dresses, fans, and pins of French citizens who were in support of the French Revolution. Patriotic women were often clad in a nighttime uniform of black skirts, jackets, and hats adorned with a tricolor cockade.^[xix]

19th century, full Neoclassicism and Empire fashion [edit]

Afterward the fall of the Jacobins and their Sans-culottes supporters, the supporters of the Thermidorian Reaction were known as the Incroyables and Merveilleuses. They scandalized Paris with their improvident wearing apparel. The Merveilleuses wore dresses and tunics modeled afterward the ancient Greeks and Romans, cut of lite or even transparent linen and gauze. Sometimes so revealing they were termed "woven air", many gowns displayed cleavage and were also tight to let pockets. To conduct even a handkerchief, the ladies had to use pocket-sized bags known as reticules.^[20] They were addicted of wigs, often choosing blonde because the Paris District had banned blonde wigs, only they too wore them in blackness, bluish, and green. Enormous hats, short curls similar those on Roman busts, and Greek-style sandals were the most popular. The sandals were tied to a higher place the ankle with crossed ribbons or strings of pearls. Exotic and expensive scents fabricated past perfume houses like Parfums Lubin were worn as both for style and as indicators of social station. Thérésa Tallien, known as "Our Lady of Thermidor", wore expensive rings on the toes of her bare feet and gold circlets on her legs.

The Incroyables wore eccentric outfits: large earrings, greenish jackets, broad trousers, huge neckties, thick glasses, and hats topped past "dog ears", their hair falling on their ears. Their musk-based fragrances earned them too the derogatory nickname muscadins among the lower classes, already applied to a wide group of anti-Jacobins. They wore bicorne hats and carried bludgeons, which they referred to every bit their "executive power." Hair was oftentimes shoulder-length, sometimes pulled up in the back with a comb to imitate the hairstyles of the condemned. Some sported large monocles, and they frequently affected a lisp and sometimes a stooped hunchbacked posture.

In addition to Madame Tallien, famous Merveilleuses included Anne Françoise Elizabeth Lange, Jeanne Françoise Julie Adélaïde Récamier, and two very popular Créoles: Fortunée Hamelin and Hortense de Beauharnais. Hortense, a girl of the Empress Josephine, married Louis Bonaparte and became the mother of Napoleon III. Fortunée was not built-in rich, simply she became famous for her salons and her string of prominent lovers. Parisian society compared Germaine de Staël and Mme Raguet to Minerva and Juno and named their garments for Roman deities: gowns were styled Flora or Diana, and tunics were styled à la Ceres or Minerva.^[21]

The leading Incroyable, Paul François Jean Nicolas, vicomte de Barras, was one of five Directors who ran the Commonwealth of France and gave the menstruum its proper name. He hosted luxurious feasts attended by royalists, repentant Jacobins, ladies, and courtesans. Since divorce was now legal, sexuality was looser than in the past. However, de Barras' reputation for immorality may have been a factor in his later overthrow, a coup that brought the French Consulate to power and paved the way for Napoleon Bonaparte.

Terminal 19th and early 20th century, Belle époque and Années folles [edit]

Coco Chanel, French designer revolutionised fashion earth, in the post-World War I era.

French republic renewed its dominance of the high fashion (French: couture or haute couture) manufacture in the years 1860–1960 through the establishing of the great couturier houses, the way press (Vogue was founded in 1892 in Us, and 1920 in France) and fashion shows. The first modern Parisian couturier house is more often than not considered the work of the Englishman Charles Frederick Worth, who dominated the industry from 1858–1895.^[22] In the late nineteenth and early on twentieth century, the industry expanded through such Parisian fashion houses as the house of Jacques Doucet (founded in 1871), Rouff (founded 1884), Jeanne Paquin (founded in 1891), the Callot Soeurs (founded 1895 and operated past four sisters), Paul Poiret (founded in 1903), Louise Chéruit (founded 1906), Madeleine Vionnet (founded in 1912), House of Patou by Jean Patou (founded in 1919), Elsa Schiaparelli (founded in 1927) or Balenciaga (founded by the Spaniard Cristóbal Balenciaga in 1937).

Chanel founded past Mademoiselle Coco Chanel, it first came to prominence in 1925, its philosophy was to emphasize understated elegance through her clothing. Her popularity thrived in the 1920s, considering of innovative designs. Chanel'due south own wait itself was as different and new as her creations. Instead of the usual pale-skinned, long-haired and full-bodied women preferred at the time, Chanel had a boyish effigy, curt cropped hair, and tanned skin. She had a distinct blazon of beauty that the world came to embrace.

The horse civilisation and penchant for hunting so passionately pursued by the elites, especially the British, fired Chanel's imagination. Her ain enthusiastic indulgence in the sporting life led to vesture designs informed by those activities. From her excursions on water with the yachting world, she appropriated the habiliment associated with nautical pursuits: the horizontal striped shirt, bong-bottom pants, crewneck sweaters, and espadrille shoes—all traditionally worn by sailors and fishermen.^[23]

World War Ii, Trente Glorieuses and New Expect [edit]

Many mode houses airtight during the occupation of Paris in World War II, including the Maison Vionnet and the Maison Chanel. In contrast to the stylish, liberated Parisienne, the Vichy regime promoted the model of the wife and mother, the robust, able-bodied young woman, a figure who was much more in line with the new political criteria. Deutschland, meanwhile, was taking possession of over half of what France produced, including high fashion, and was considering relocating French haute couture to the cities of Berlin and Vienna, neither of which had any pregnant tradition of way. The archives of the Chambre Syndicale de la Couture were seized, mostly for their client lists as Jews were excluded from the fashion manufacture at this time.

During this era, the number of employed models was express to lxx-5 and designers oftentimes substituted materials in order to comply with wartime shortages. From 1940 onward, no more than thirteen feet (4 meters) of fabric was permitted to be used for a coat and a trivial over three feet (one meter) for a blouse. No belt could be over ane and a half inches (four centimeters) broad. Every bit a result of the frugal wartime standards, the practical zazou conform became pop among young French men.

In spite of the fact that then many mode houses closed down or moved away during the war, several new houses remained open, including Jacques Fath, Maggy Rouff, Marcel Rochas, Jeanne Lafaurie, Nina Ricci, and Madeleine Vramant. During the Occupation, the but true way for a woman to flaunt her extravagance and add together colour to a drab outfit was to habiliment a hat. In this catamenia, hats were often made of scraps of material that would have otherwise been thrown abroad, sometimes incorporating butter muslin, bits of paper, and wood shavings. Amongst the most innovative milliners of the fourth dimension were Pauline Adam, Simone Naudet, Rose Valois, and Le Monnier.

Post-war fashion returned to prominence through Christian Dior's famous "New Look" in 1947: the drove independent dresses with tiny waists, royal busts, and full skirts swelling out beneath small bodices, in a manner very similar to the mode of the Belle Époque. The improvident use of fabric and the feminine elegance of the designs appealed greatly to a postal service-war clientele. Other important houses of the catamenia included Pierre Balmain and Hubert de Givenchy (opened in 1952). The way magazine Elle was founded in 1945. In 1952, Coco Chanel herself returned to Paris.^[24]

From '60s to today [edit]

Where else but in French republic would people describe themselves to potential partners in terms of their apparel?

Postal service-war fashion returned to prominence through Christian Dior's famous "New Expect" in 1947: the collection contained dresses with tiny waists, majestic busts, and full skirts swelling out beneath modest bodices, in a manner very similar to the style of the Belle Époque. The extravagant use of fabric and the feminine elegance of the designs appealed profoundly to a post-war clientele. Other important houses of the menses included Pierre Balmain and Hubert de Givenchy (opened in 1952). The fashion mag Elle was founded in 1945. In 1952, Coco Chanel herself returned to Paris.^[24]

Karl Lagerfeld was one of the most prestigious and powerful designers in the modern fashion earth, erstwhile creative head of Chanel style house.

In the 1960s, "loftier fashion" came nether criticism from France'southward youth civilization (including the yé-yés) who were turning increasingly to London and to casual styles.^[26] In 1966, the designer Yves Saint Laurent bankrupt with established high fashion norms by launching a prêt-à-porter ("fix to wear") line and expanding French fashion into mass manufacturing and marketing (member houses of the Chambre Syndicale were forbidden to use even sewing machines).^[27] In 1985, Caroline Rennolds Milbank wrote, "The most consistently celebrated and influential designer of the past xx-five years, Yves Saint Laurent can be credited with both spurring the couture'south rise from its sixties ashes and with finally rendering ready-to-wear reputable."^[28] He is also credited with having introduced the tuxedo conform for women and was known for his utilize of not-European cultural references, and non-white models.^[29]

Further innovations were carried out by Paco Rabanne and Pierre Cardin. In post-1968 France, youth culture would continue to gravitate abroad from the "sociopolitically doubtable" luxury vesture industry, preferring instead a more than "hippy" expect (termed baba cool in French).^[thirty] With a greater focus on marketing and manufacturing, new trends were established by Sonia Rykiel, Thierry Mugler, Claude Montana, Jean-Paul Gaultier and Christian Lacroix in the 1970s and '80s. The 1990s saw a conglomeration of many French couture houses under luxury giants and multinationals such equally LVMH.

Fashion is so important to the French that, as The New York Times in 1995 quoted in an commodity on users of online dating services on Minitel, "Where else but in France would people describe themselves to potential partners in terms of their wearing apparel?"^[25] Since the 1960s, French republic's fashion industry has come under increasing contest from London, New York, Milan and Tokyo. Nevertheless, many foreign designers still seek to make their careers in France: Karl Lagerfeld (German) at Chanel, John Galliano (British) and afterward, Raf Simons (Belgian) at Dior, Paulo Melim Andersson (Swedish) at Chloe, Stefano Pilati (Italian) at Yves Saint Laurent, Marc Jacobs (American) at Louis Vuitton, and Kenzo Takada (Japanese) and Alexander McQueen (English) at Givenchy (until 2001).

Cities and towns [edit]

Paris is a symbol of France and fashion, known for its cultural surround.

France is known as a country of luxury, fashion and beauty, with Paris equally i of the world'south manner capitals. It too has many cities and towns with an important history and industry of the entry, with diverse sized events and shows as fashion weeks and fests.

Paris [edit]

Paris is regarded as the world fashion capital, and spread throughout the city are many manner boutiques. Well-nigh of the major French fashion brands, such as Chanel, Louis Vuitton, Dior, and Lacroix, are currently headquartered here. Numerous international mode labels as well operate shops in Paris, such as Valentino, Gucci, Loewe, Escada, Bottega Veneta, and Burberry, as well as an Abercrombie & Fitch flagship shop which has get a main consumer attraction. Paris hosts a style calendar week twice a twelvemonth, similar to other international centers such every bit Milan, London, Tokyo, New York, Los Angeles and Rome.

The Avenue des Champs-Élysées is the avenue of luxury and beauty of French republic and is the location of many headquarters of upscale fashion, jewelry and beauty houses. It is oftentimes compared with the fifth Avenue of New York City and the Avenue Montaigne, an adjacent artery that is also known for its prestigious style headquarters since the 1980s. The mode houses have been traditionally situated since the 17th century in the quarter around the Rue du Faubourg Saint-Honoré. Other areas, such every bit Le Marais, a traditional Jewish quarter, have also included the vesture industry. The city's numerous mode districts consolidate it equally a fashion capital.

Marseille [edit]

Marseille is a urban center of contrasts, which represents the antique and contemporary cities of France.

Marseille, the oldest and 2d largest city of France is well known for the principal port of the country and of the second Mediterranean, and quaternary of all Europe.

The city is affectionately called "The Old Lady of the Mediterranean" or "The City of Contrasts".^[31] The city has enjoyed its position on the continent beingness a fluvial port with ships full of style products. The avenue Canebière is called the "Champs Elysées of Marseille". Rue Paradis and the Rue Grignan are known for being the avenues of luxury in the city, property high fashion boutiques such as Louis Vuitton, Hermès, YSL, Chopard, Kenzo, Tara Jarmon, Gérard Darel and many others. Local fashion and fine art make Kulte belongs to the French label Kaporal. The Rue de la Tour is chosen La Rue de la Mode ("The Fashion Street"), where the newest Marsellaises mode designers and artisans are supported past the city authorities, for creating and growing the fashion industry in the city. Some of the famous fashion houses here are Diable Noir and Casa Blanca.

In the Centre and Vieux Port (downtown and erstwhile port) are other of the city shopping districts, in these areas are a lot of style houses for both nationals and internationals.

Lyon [edit]

Lyon is a metropolis in constant modernisation, symbol of the land.

A view of upscale Presqu'île neighborhood in Lyon.

Lyon, the third largest metropolis of France, is a growing fashion industry middle. It has been the world's silk capital letter since the 17th century, with an important textile industry and a strong fashion culture. It is the second biggest luxury goods consumer of the state, with major streets and districts property houses of high style.^[32]

The Presqu'île is the upscale commune of the city, containing luxurious malls, streets and artery. The famous Rue de la République is compared with Avenue des Champs-Elysées of Paris.

The Rue Édouard-Herriot, the Artery des Cordeliers Jacobines, the Place Bellecour among others, with elegant boutiques of Armani, Dior, Prada, Dolce & Gabbana, Calvin Klein, MaxMara, Armand Ventilo, Sonia Rykiel, and Cartier.^[33]

La Croix-Rousse is a fashion commune heavily marked past the silk industry, and known for receiving government back up for the newcomer way designers. The city is the abode of the headquarters of international fashion houses such every bit Korloff, Millesia and the jeweler Augis. Other famous Lyonnaise fashion houses in France include Nicholas Fafiotte, Nathalie Chaize and Garbis Devar.^[33]

Other cities and towns [edit]

Outside of the biggest cities, there are many "stylish" cities and towns in French republic, there are fashion districts, avenues, streets, shopping malls and many places specialized for all the needs of customer.

Cannes, Nice, St. Tropez and Monte Carlo, year by year host thousands of socialites, artists, potentates and personalities who come for events including the Cannes Film Festival and the NRJ Music Awards. For that reason, the style houses have taken advantage of establishing boutiques in ostentatious districts of the French riviera, Bordeaux is classified "City of Art and History". The city is dwelling to 362 monuments historiques (only Paris has more in France) with some buildings dating dorsum to Roman times. Bordeaux has been inscribed on UNESCO Globe Heritage List as "an outstanding urban and architectural ensemble" and is the world's summit prime wine tourism place, focus its luxury district around the Cours de l'care. Toulouse with pink and stylish compages, Rennes with antique and medieval dazzler (effectually the "rue de la Monnaie"), Nantes with its passage Pommeraye, Strasbourg offer French-German architecture and Lille's downtown in northward France holds several luxury houses.

Fashion shows [edit]

The Paris Fashion Calendar week takes identify twice a twelvemonth after the Milan Fashion Week. It is the last and commonly the most predictable city of the fashion month. Dates are determined by the French Fashion Federation. Currently, the Style Week is held in the Carrousel du Louvre.

• Africa Way Week Paris
• Bordeaux Style Week
• Elite Model Wait
• Cannes-Dainty Fashion Week
• Bal des débutantes
• Lille Fashion Week
• Lyon Fashion Calendar week (FashionCity Bear witness)
• Marseille Fashion Calendar week
• Nantes Fashion Week
• Rennes Way Week
• Toulouse Fashion Calendar week
• Strasbourg Way Week (EM Fashion Week)
• St. Tropez Fashion Week
• Spring 2004 Dior couture collection

Monaco [edit]

Montecarlo Fashion Week (Fashion Fair Week)

Notes [edit]

1. ^ "Fashion". Gouvernement.fr . Retrieved 2018-x-23 .
2. ^ "18th-century Paris: The capital of luxury". TheGuardian.com. 29 July 2011.
3. ^ Why is Paris the Capital of Fashion - LoveToKnow - Women's Fashion
4. ^ French fashion facts- Paris Digest
5. ^ Kelly, 181. DeJean, chapters 2–four.
6. ^ DeJean, pp. 35–6, 46–7, 95.
7. ^ DeJean, 48.
8. ^ Norberg & Rosenbaum p. Xv; Introduction.
9. ^ ^{a b c d e f} Norberg & Rosenbaum, and diverse authors. (Norberg, Louis XIV: King of Fashion?, p. 135-65)
10. ^ Perez, Stanis (July–September 2003). "Les rides d'Apollon: l'évolution des portraits de Louis XIV" [Apollo's Wrinkles: The Evolution of Portraits of Louis XIV]. Revue d'histoire moderne et contemporaine. 50 (3): 62–95. doi:x.3917/rhmc.503.0062. ISSN 0048-8003. JSTOR 20530984.
11. ^ In Norberg'due south article, she references the idea that Louis 14's portrayal in mode portraits mirrors the use of notable manner models of today in social club to sell clothing and trends.
12. ^ See as well Schmitter, Amy M. (2002). "Representation and the Body of Power in French Academic Painting". Periodical of the History of Ideas. 63 (3): 399–424. doi:x.1353/jhi.2002.0027. ISSN 0022-5037. JSTOR 3654315. S2CID 170904125.
13. ^ ^{a b c d} "Clothes During Louis XIV, Louis XV, Louis XVI 1643-1789". world wide web.oldandsold.com.
14. ^ "Marie Antoinette Biography". Chevroncars.com. Archived from the original on 26 September 2011. Retrieved 17 July 2011.
15. ^ Fraser 2001, pp. eighteen, 160 harvnb error: no target: CITEREFFraser2001 (help); Lever 2006, pp. 63–five harvnb mistake: no target: CITEREFLever2006 (help); Lanser 2003, pp. 273–290 harvnb error: no target: CITEREFLanser2003 (help)
16. ^ Johnson 1990, p. 17 harvnb error: no target: CITEREFJohnson1990 (aid)
17. ^ Shovlin, John (2007). The political economy of virtue: Luxury, patriotism, and the origins of the French Revolution. pp. xv–16.
18. ^ Steele, Valerie (2017). Paris manner: A cultural history. pp. 45–46.
19. ^ Steele, Valerie (2017). Paris mode: A cultural history. Bloomsbury. pp. 47–48.
20. ^ "Reticule". Austentation: Regency Accessories . Retrieved four November 2012.
21. ^ Alfred Richard Allinson, The Days of the Directoire, J. Lane, (1910), p. 190
22. ^ Kelly, 101.
23. ^ Vaughan 2011, pp. 47, 79. sfn fault: no target: v2011 (help)
24. ^ ^{a b} Caroline Weber, "Manner", in Dauncey (2003), pp. 193–95.
25. ^ ^{a b} Brubach, Holly (1995-03-12). "STYEL; Fashion Foreplay". The New York Times Magazine. p. 6006081. Retrieved 2018-eleven-27 .
26. ^ Weber, p. 196.
27. ^ Weber, p. 195.
28. ^ "Yves Saint-Laurent". Goodreads . Retrieved 20 May 2012.
29. ^ Yves Saint Laurent's body put to rest Archived 2014-ten-29 at the Wayback Machine Style Tv.
30. ^ Weber, p. 198.
31. ^ "Marsella, aquella vieja dama del Mediterráneo". www.gusplanet.internet.
32. ^ "Shopping & Way - Lyon Tourist Office and Convention Bureau". world wide web.en.lyon-france.com.
33. ^ ^{a b} "Archived copy". Archived from the original on 2013-07-03. Retrieved 2013-07-06 . {{cite web}}: CS1 maint: archived copy as title (link)

References [edit]

• Dauncey, Hugh, ed., French Popular Civilisation: An Introduction, New York: Oxford Academy Press (Arnold Publishers), 2003.
• DeJean, Joan, The Essence of Style: How The French Invented High Mode, Fine Food, Chic Cafés, Fashion, Sophistication, and Glamour, New York: Gratis Printing, 2005, ISBN 978-0-7432-6413-vi
• Kelly, Michael, French Civilization and Lodge: The Essentials, New York: Oxford Academy Press (Arnold Publishers), 2001, (a reference guide)
• Nadeau, Jean-Benoît and Julie Barlow, Sixty Million Frenchmen Tin't Be Wrong: Why We Love France But Not The French, Sourcebooks Trade, 2003, ISBN ane-4022-0045-5
• Norberg, Kathryn & Rosenbaum, Sandra (editors), and various authors. Fashion Prints in the Age of Louis Fourteen (Texas Tech University Printing, 2014)

Further reading [edit]

• Bourhis, Katell le: The Age of Napoleon: Costume from Revolution to Empire, 1789-1815, Metropolitan Museum of Fine art, 1989. ISBN 0870995707
• Martin, Richard & Koda, Harold (1996). Christian Dior . New York: The Metropolitan Museum of Art. ISBN9780870998225. {{cite book}}: CS1 maint: multiple names: authors listing (link)

External links [edit]

• La Fédération française de la couture, du prêt-à-porter des couturiers et des créateurs de style - main folio
  • La Fédération française de la couture - member manner houses
• "Interactive timeline of couture houses and couturier biographies". Victoria and Albert Museum. 29 July 2015.
• News most French manner industry FashionUnited
• French Fashion Guide French Fashion History

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