Haute couture: Making a wastage is the height of fashion - Telegraph
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Haute couture: Making a loss is the height of fashion
In this topsy-turvy world,
tod shoes sale, selling a ￡50,000 dress at a ￡15,000 deduct turns out to be quite good business indeed, says William Langley.
BY William Langley |11 July 2010
High fashion for cheap prices: Haute couture houses trade in fancy, and, in these times, more human absence to fantasise
Given that a nice year in the haute couture business is one where you lose even more money than usual, the dominating mood in Paris last week was of recession-busting buoyancy. The big-name designers were falling over themselves to boast of how numerous outfits they had sold at under cost price, and how this certified that the fashion business was healthier than ever.
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Jean-Paul Gaultier reported disc bargains, "but we don't make whichever money out of it," the designer assured correspondents backstage.
"No matter how successful you are, you can't make a profit from couture," unraveled Jean-Jacques Picart, a practiced fashion PR male, and co-founder of the now-bankrupt Lacroix house.
Almost 20 years have passed since the Alice in Wonderland economics of the couture affair were {first|at {first|at at first,0,0},0} exposed. Outraged that he was losing money on nightfall dresses costing tens of thousands of pounds, the couturier Jean-Louis Scherrer - to howls of "trahison" from his colleagues - published a detailed synopsis of his costs. One outfit he narrated contained over half a mile of gold thread, 18,000 sequins, and had required hundreds of hours of hand-stitching in an atelier. A just price would have been ￡50,000, but the couturier could only acquire,0 ￡35,000 for it. Rather than riding high on the follies of the super-rich, he and his team could barely fared their peckish families.
The outcome was an outcry and the first of a sequence of government - and industry-sponsored inquiries into the surreal earth of final fashion. The trade continues to insist that - relatively speaking - couture attempts you more than you cost,0 for, but it's not as uncomplicated as that. When such a temple of old wealth starts talking about value for money, it isn't to convince anybody that dresses costing as much as houses are a bargain. Rather, it is to maintain the peculiar mystique, profitable associations and intimidated interests that couture represents.
Essentially, the contentions couldn't be simpler. On one side are those who mention that the business will die if it doesn't change. On the other are those who mention it will die if it does.
What's no in doubt is namely haute couture - the term translates as "high sewing" - is a spectacular anachronism. Colossal in its prices, microscopic in its clientele and dubious in its influence, it still remains one of the large themes of Parisian life. In his paperback, The Fashion Conspiracy, Nicholas Coleridge estimates namely the plenary couture industry rests above the whims of fewer than 30 immensely wealthy women, and though the number may have grown in recent years with the new boom of Asia, the digit of couture buyers worldwide is no more than 4,000.
At this stratospheric peak of the rag trade, many designers not even meet the women who buy their clothes. Some are known only by numbered codes, do their buying through intermediaries and settle their bills from Swiss bank accounts.
To qualify as couture, a garment must be fully hand-made by one of the 11 Paris couture houses registered to the Chambre Syndicale de la Haute Couture. Each house have to employ at least 20 people, and show a minimum of 75 new designs a year. So distant, so stirringly traditional, but the Big Four operators - Chanel, Dior, Givenchy and Gaultier - increasingly use couture as a marketing apparatus for their far more lucrative ready-to-wear, scent and extra lines.
It isn't hard to see how this goes in custom,0. "Haute couture is what gives our business its important essence of elegance," says Bernard Arnault, the pate of LVMH, which owns either Dior and Givenchy. "The cash it soaks up is largely irrelevant. Set opposition the money we lose has to be the merit of the picture couture gives us. Look at the consideration the collections preoccupy. It is where you get noticed. You must be there. It's where we set our ideas in motion."
The huge idea being the an known in the trade like,0 "appoint league". Couture outfits may be unaffordable, even unwearable, merely the whiff of glamour and exclusivity is hard apt resist. The time-starved modern female who doesn't make enough in a annual to supply a single chip of couture {can|be able apt,0} still buy a share of the dream for the price of a Chanel lipstick or a Givenchy scarf.
For all this, couture has been in decline - the optimists would say readjusting to changed conditions - for years. The number of houses registered to the Syndicale has halved in the last 2 decades. Pierre Cardin once had about 500 people working full time on couture, but by the Eighties the number had fallen to 50, and today the house is no longer registered.
Modern life tells the story. Younger women, even the seriously rich ones, find out,0 ready-to-wear clothing,0 invariably more practical and usually more amusement. Couture's mall has reduced to a essence of ageing European grandes dames, the xray wives of antique money American families, and the petticoat relatives of fuel sheiks. Asia's fashionable asset has slowed the decline without capturing it.
"Haute couture is a joke," scoffs Pierre Bergé, the sometime head of Yves St Laurent - distinct house that no longer creates it. "Anyone who tells you it still matters is fantasising. You can see it dropping dead all nigh you. Nobody buys it any more. The prices are absurd. The rules for making it are nonsensical. It belongs to another old. Where are today's couturiers? A true,
tods shoes shopping,0 couturier is something who founds and escapes scampers their own house. No one does that any more."
Why, then,
hermes leather collier de chien bracelet, are the surviving couture houses smiling? Partly because they trade in fantasy, and, in these times, more people want to fantasise. "We've received so many mandates we may not be skillful to convey them all," says Sidney Toledano, head of Dior. So the clothes are rolled out and the couture losses coil in, and everybody agrees that it's good business.
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