FASHION & CULTURES of Europe. Historical investigation by Guillaumette Duplaix, Executive Editor of RUNWAY MAGAZINE. Photo / Images Courtesy: GettyImages / INPI / Louis Vuitton / Dolce Gabbana / Emilio Pucci.
“Fashion fades, only style remains.”
Coco Chanel
Fashion as an essential element of our society
Fashion plays a crucial role by drawing from cultures, history, and art, serving as both an educational tool and a source of inspiration. Following fashion trends often leads to the emergence of communities with shared interests, moving collectively in the same direction.
Major luxury brands have spent years building their identity and DNA. Sometimes, they hire creative directors from outside their traditional circles for marketing or cultural reasons, aiming to attract a new audience with a different cultural background.
This approach might appear appealing at first, as it introduces fresh ideas and a new perspective. It allows a brand to reinvent itself and stay relevant over time. However, there are also risks associated with this practice.
One of the risks is the dilution of the identity of the luxury house
When an external creative director is hired, they may bring a vision that diverges from the brand’s established identity, potentially diluting the brand’s essence and authenticity. Loyal fans and customers might feel alienated or disappointed if the values and aesthetics they cherish are significantly altered.
Moreover, hiring an external creative director can be seen as a purely commercial strategy aimed at attracting new customers and boosting revenue. This can invite criticism and be perceived as exploiting culture or engaging in cultural appropriation, particularly if the brand heavily draws from a specific culture without honoring its origins and deep meanings.
The idea of appointing a creative director from outside a luxury brand’s traditional narrative may seem promising, but it is crucial to approach this practice with caution. It is vital to strike a balance between innovation and maintaining the brand’s identity and history, as well as demonstrating cultural sensitivity to avoid any form of exploitation or cultural appropriation.
Fashion is a social event.
FASHION & CULTURE IN FRANCE
Let’s explore the evolution of Louis Vuitton under the leadership of Virgil Abloh.
This talented individual successfully fulfilled his mission by attracting a predominantly musical, athletic, and African-American audience. This has created a new consumer community that displays its group affiliation through the Louis Vuitton brand. However, this trend might focus more on outward appearance and the display of wealth rather than on a genuine understanding of the brand’s culture and significance.
It is crucial for luxury brands to preserve their DNA and cultural heritage while evolving over time. Pursuing short-term financial strategies can sometimes lead to a loss of authenticity and a dilution of the brand’s identity.
I also refer to the example of Pharrell Williams, who showcased designs using the skins of endangered animals without considering professional opinions. This raises legitimate concerns about how inspiration can turn into cultural appropriation, as well as the importance of respecting nature and the environment in fashion design.
Fashion indeed serves as a conduit for culture, education, economics, and politics. It profoundly impacts our society and can play a significant role in shaping our individual and collective identities. Therefore, it is crucial for fashion houses to be aware of their responsibilities and act ethically, ensuring they preserve their heritage while adapting to the changes in the contemporary world.
However, it is also important to acknowledge that opinions on fashion and its implications can vary. Some may see these changes as opportunities for diversification and rejuvenation, while others may have concerns about maintaining authenticity and cultural significance.
Recognizing this diversity of perspectives in discussions about fashion and promoting an open and respectful dialogue is essential.
The capital of Fashion remains PARIS with Haute Couture
I invite you to explore this page on the Ministry of Culture’s website. The Ministry of Culture supports the creation, research, and innovation in fashion through funding organizations and projects that contribute to the prominence of French fashion.
Fashion is primarily a matter of appearance:
AN ATTITUDE
Indeed, clothing has appeared since prehistoric times and has evolved through the ages, but let us remember this: The first to adopt the codes of dress were at the court of Versailles. Louis XIV and Jean-Baptiste Colbert decided to make France the world’s leading manufacturer of clothing items and products. The luxury industry came under the authority of the crown.
This led to the emergence of renowned craft artisans like Rose Bertin. Parisian haute couture would become the heir to this phenomenon. Just before the French Revolution, illustrated fashion almanacs began spreading Parisian fashion to readers in the provinces and across Europe.
This marked the birth of fashion journalism, a crucial vehicle for the liberalization of clothing.
The extravagant styles of the French royal court led to immense debts borne by the taxpayers. These excessive expenditures also contributed to the tarnished reputation of Marie-Antoinette, even becoming one of the grievances that sparked the French Revolution. Long after her death, Marie Antoinette remains a major cultural icon, symbolizing both glamour and wealth.
During the French Revolution, the “sans-culottes” gave clothing a political significance. The law of 8 Brumaire Year 2 (October 29, 1793) declared the freedom to dress as one wished, which foreshadowed the democratization of clothing.
In the Second Empire, it was the British, particularly Charles Frederick Worth, who pioneered the use of live models in Paris. This marked the birth of Haute Couture.
Until the 20th century, people either made their own clothes or had them custom-made. Designers liberated the female body from the corset during World War I.
At the beginning of the 20th century, Jeanne Paquin invented fashion shows.
At that time, there were about twenty couture houses in Paris. Paul Poiret was the first to “emancipate the woman’s body.”
These years were marked by a new trend in the world of fashion: the collaboration between couturiers and visual artists. For example, Elsa Schiaparelli collaborated with the painter Salvador Dali. Their friendship led to the creation of an extraordinary collection that blended artistic styles and vivid imaginations. The famous “Lobster Dress” from 1937 was a notable piece illustrating this fusion.
To expand its reach, fashion successfully formed alliances with photography and cinema. In 1930, Coco Chanel struck a deal with Samuel Goldwyn to design outfits for the stars of United Artists.
Paris is regarded as the global capital of fashion, a claim evidenced by the numerous fashion boutiques throughout the city. The world embraces French fashion along with its culture. Today, cultural exchanges between countries and luxury fashion houses are taking place, resulting in magnificent outcomes.
Why?
The word “culture” is pivotal in both contexts.
If the “cultural” system adopted today by major luxury houses is based on history, sensitivity, respect, etc., natural connections are formed. Conversely, if this approach is purely marketing-oriented (to give it its true interpretation), it is rejected by the “used” community.
FASHION & CULTURE IN ITALY
The birth of Italian fashion and “Made in Italy”
The history of Italian fashion dates back to the Middle Ages with the emergence of the first weaving and dyeing workshops. During that period, the most precious fabrics were imported from the East, and Italian workshops specialized in producing refined and high-quality textiles. The “Made in Italy” brand originated from this artisan tradition and Italian craftsmanship, which helped Italian fashion stand out on the international stage. Over the centuries, Italian designers have continued to innovate and develop new styles, drawing inspiration from both the Renaissance and Mediterranean culture.
Rome, Florence and Milan symbolize the Italian fashion economy
Roman Haute Couture
The success of fashion in Rome during the post-World War II era was the result of a process of excellence that began in the 1870s, following the socio-economic upheavals that shook the city from 1871, when it became the capital of Italy. The arrival of the royal family, government offices, embassies, merchants, and small entrepreneurs overturned the hierarchy dominated by old and powerful aristocratic families, paving the way for a less conservative nobility and, more importantly, an urban bourgeoisie with new cultural values, lifestyles, and consumption patterns. This new social class created a specific demand for high-fashion items and accessories, attracting the most skilled artisans. Coming from other Italian cities, they established their workshops in the capital or opened branches there.
The first “couturière” to create a fashion independent of Parisian standards was not a couturier in the strict sense, but an artist: Maria Monaci Gallenga (1880-1944), who saw clothing design as a perfect synthesis between plastic arts and painting. In 1915, she showcased her first creations at the Terza secessione Romana exhibition and the Panama-Pacific International Exposition in San Francisco, where she was awarded a Grand Prix. From that point until 1935, Maria Gallenga’s designs enjoyed widespread success across Europe and the United States, culminating in 1925 with a Grand Prix awarded by the international jury at the International Exhibition of Modern Decorative and Industrial Arts in Paris. With her efforts, Rome began to “export” Italian women’s fashion creations for the first time. In 1928, after opening a branch in Florence, Mrs. Gallenga established a house in Paris on Rue Miromesnil, active until 1934. Her success encouraged other designers in the 1920s and 1930s to break away from Paris, spurred by the cultural and political climate of the era.
After World War II, Roman fashion achieved international success. The crisis in Parisian haute couture and a greater awareness of their potential led Roman couturiers to break away from Paris once and for all. The American market significantly contributed to this success. Indeed, with the end of the conflict, Rome became an international tourist destination, especially for wealthy American women who began to discover and appreciate the creativity of its fashion houses, forming the bulk of their clientele.
Simonetta, an aristocrat from the Visconti di Cesarò family, who opened a workshop in 1946, was the first Roman couturier to capture the attention of the American market. The modern design of her garments and their practicality made them suitable for mass production, aligning with the clothing lines of department stores across the Atlantic. Consequently, many of her designs were purchased and reproduced by American stores Bergdorf Goodman and Marshall Field’s.
The high-profile event that brought Roman haute couture into the limelight was the marriage of American star Tyrone Power to actress Linda Christian, celebrated in Rome on January 27, 1949. The photos of the couple, published on the front pages of major European and American magazines, showcased the bride’s lavish gown created by the Sorelle Fontana house, and the groom’s morning suit designed by Domenico Caraceni. That day, the world witnessed the talent of Roman couturiers and, more importantly, Roman fashion cemented its relationship with Hollywood cinema.
Indeed, it was in the early 1950s that the vast, well-equipped studios of Cinecittà (established in 1937) began to host American directors and actors working on films produced by major U.S. studios, primarily Metro Goldwyn Mayer, earning Rome the nickname “Hollywood on the Tiber.”
While actors were discovering the perfect tailoring of Caraceni and Brioni suits, actresses became regular clients of Roman fashion houses. Fernanda Gattinoni designed clothing for stars such as Ingrid Bergman and Lana Turner, as well as for American ambassador Clara Boothe Luce and Eva Peron.
Emilio Schubert designed for the Empress of Persia, Soraya, and numerous actresses, including Italian star Sofia Loren.
Esther Williams patronized the workshop of the young Roberto Capucci, who, with his “a scatola” line featuring sculptural and abstract volumes, won the 1958 fashion Oscar awarded by Boston’s Department Store Filene’s. The following year, the award went to Irene Galitzine, creator of the famous palazzo pajamas—a perfect blend of modernity and haute couture, which Jaqueline Kennedy adored.
The Sorelle Fontana studio was frequented by stars and first ladies such as Audrey Hepburn, Liz Taylor, and Jaqueline Kennedy, but Ava Gardner was particularly fond of their designs, choosing the Sorelle as costume designers for most of the films she starred in.
Florence and the affirmation of Italian fashion 1951-1970
The definitive launch of Italian fashion on the international stage occurred in the early 1950s, thanks to the fashion shows in Florence organized at the Palazzo Pitti by Marquis Giovanni Battista Giorgini. This pivotal moment was not the result of institutional efforts but rather the dynamism of an individual. Giorgini leveraged his extensive commercial experience and a vast network of contacts and relationships developed while managing purchases for major American department stores. He was the first to recognize and promote the innovative and appealing elements of Italian haute couture to the primary international market of the post-war era, the American market.
In Florence, and Tuscany more broadly, there was a vibrant artisanal fabric, a medieval legacy of manufacturing and trade traditions. The city, with its image as a living testament to Italian Renaissance art and culture, was a major draw for international tourism. For several decades, Florence became the reference point for Italian fashion, thanks to the success and international renown of local fashion enterprises and houses such as Salvatore Ferragamo (established in 1927), Guccio Gucci (founded in 1921), and Emilio Pucci. In 1947, Salvatore Ferragamo received the Neiman Marcus Award, akin to a fashion Oscar, awarded by one of the largest American department stores to fashion designers and professionals.
February 12, 1951, the date of the first collective Italian fashion show organized by Giorgini, is considered not only the official birthdate of Italian fashion but also the inception of the “Made in Italy” label, marking the international recognition of Italy’s creative and artisanal excellence. The fashion show took place in the salons of his residence at Villa Torrigiani, following the events in Paris. In the presence of six of the top American buyers, thirteen Italian fashion houses showcased their designs: nine haute couture workshops from Rome and Milan and four boutique fashion houses.
Among them was Pucci, the sole local couturier. The American guests were enthusiastic, and the five Italian journalists present ensured high visibility for the event. The definitive consecration occurred in July 1951, during the second edition of the event, where the number of participating Italian fashion houses increased from thirteen to fifteen and the number of models showcased rose from 180 to 700. Moreover, the presence of buyers skyrocketed from six to over 300. To accommodate them, the shows were moved to a new location, the Grand Hotel.
Giorgini had bet on a crucial feature from the first show: the close link between Italian fashion creations and the heritage of artistic and artisanal traditions of the past, for which only the city of Florence could provide the ideal backdrop. Therefore, for its fourth edition in July 1952, the event’s relocation to the Sala Bianca of the Palazzo Pitti completed Giorgini’s vision, establishing Florence as the capital of Italian fashion and the perfect showcase for the new alliance between fashion, art, and tradition. Giorgini’s staging was key to success, with his unique runway setup, the organization of social events alongside the shows, and highlighting knitwear, boutique fashion, and accessories as true novelties compared to French haute couture.
However, haute couture had its day, and its decline was as much a social phenomenon as a market one. A new fashion paradigm emerged, less elitist and less aristocratic, where it was no longer the upper echelons of society that dictated and shaped fashion norms; instead, it became the responsibility of classes with more modest cultural and social standings. Giorgini was acutely aware of this, better positioned than anyone to witness the diminishing luster of the events, both in terms of fashion house participation and the involvement of buyers and the press.
Despite these challenges, he continued to organize the shows without fail, always under the banner of innovation with the first ready-to-wear models (1956), teenage clothing (1962), and women’s lingerie (1964). He facilitated the debut of new Italian fashion labels such as Lancetti (1961) and Valentino (1962) for haute couture, and Krizia and Mila Schön for the “boutique” category. However, by 1965, facing ongoing difficulties and defections, Giorgini decided to step down, relinquishing control and organization of the events. His retirement marked the decline of the Palazzo Pitti and particularly of Florence on the international stage.
The withdrawal of some of the most prominent names in national haute couture and the increasing focus on boutique fashion gradually eroded the prestige and image of the Florentine shows, reducing them to merely a “fairground festivity.” Despite the expansion of events at the Palazzo Pitti, which from 1972 saw the inception of the first edition of “Pitti Uomo,” dedicated to men’s clothing and accessories, followed by “Pitti Bimbo” in 1975, “Pitti Filati” in 1977, and finally “Pitti Casual” in 1978 for leisure sportswear, and “Pitti Casa,” the 1970s saw Florence transform into a center for exhibitions. The closure of the Sala Bianca in 1982 and the definitive end of “Pitti Donna” events in 1984 irrevocably established Milan as the new hub for ready-to-wear and Italian style.
Milan and fashion design
Milan’s rise to the status of an international ready-to-wear capital began in the mid-1970s, driven by a group of young designers who decided to turn away from the Florence shows and present their own collections in Milan. The international press quickly picked up on the event, especially as it coincided with the twenty-fifth anniversary of the birth of Italian fashion.
By choosing Milan, designers escaped Florence, which had become a symbol of constraints that stifled creativity and business. Far from the Palazzo Pitti, they could select buyers more judiciously, freely present collections larger than the twenty-model limit imposed at the collective Florence shows, and choose staging that best highlighted their individual collections.
By 1981, just a few years after these tentative beginnings, Italy’s leading financial newspaper dedicated an article for the first time to the “sophisticated fashion shows that have drawn the attention of major buyers worldwide to Milan,” acknowledging the city’s role in leading the renewal of Italian fashion. The designers who propelled the Lombard capital to the forefront of the international fashion stage were schooled in collaboration with large industrial enterprises and learned to become the entrepreneurs and managers of creativity.
Dolce & Gabbana: the symbol of Italian elegance
Founded in 1985 by Domenico Dolce and Stefano Gabbana, Dolce & Gabbana is one of the main Italian fashion brands.
Known for its glamorous and bold style, Dolce & Gabbana has captivated celebrities and fashion enthusiasts around the world. The brand’s first collection, presented during Milan Fashion Week in 1986, was notable for its originality. Dolce & Gabbana’s designs draw inspiration from Italian culture and celebrate traditional motifs, such as flowers, fruits, and animals. Dolce & Gabbana was also among the first fashion brands to use social media to promote its collections. With innovative social media campaigns, the brand has reached a broader audience and built a loyal customer base. Today, Dolce & Gabbana operates globally and offers a diverse range of products, from haute couture and leather goods to accessories and fragrances.
FASHION & CULTURE IN ENGLAND
Classic “English fashion,” or “British style,” has been around since the nineteenth century. Designer William Morris, the father of the Arts & Crafts movement, originated a distinct “English style” that still characterizes classic English fashion today.
The Victorian era, marked by the ascent of Alexandrina Victoria of Kent, daughter of the Duke of Kent, signaled the emergence of a monarchy that was more modern and in tune with the aspirations of society than her uncle’s. During her reign, Great Britain saw numerous advancements, particularly in industry, science, and technology, yet also faced challenges after Queen Victoria’s rule with the decline of the British Empire as a global power under the reigns of George IV and William IV. Queen Victoria left a lasting imprint on history with her preferences and life linked to this significant period.
During Queen Victoria’s reign, from her ascension in 1837 until her death in late January 1901, Great Britain underwent transformations in all areas, including in nations that were British protectorates or colonies during this time, forming the Commonwealth. The empire extended far, with Queen Victoria as Empress of India, dominating the seas from her throne.
Many people associate the Victorian period with romance, elegance, and a bygone era that reflects the innocence of a time before the immense cultural upheaval of the 20th century.
Victorian fashion inspired by Queen Victoria
Fashion during the era was heavily influenced by Queen Victoria herself. Her Majesty was known as a style icon throughout her reign, and her personal style was often emulated by women in London. This set the trends, which were initially lighter and more colorful early in her reign and became more austere and gothic during her period of mourning.
Women wore garments such as long, fitted dresses with petticoats underneath to create a voluminous effect. They favored elegant dresses, corsets, and boots. Button boots, slip-on boots, and lace-up boots were distinctive of this time.
During the 1840s and 1850s, women’s dresses featured narrow, drooping shoulders, waists cinched into a downward-pointing triangle, and bell-shaped skirts. Undergarments included a corset, an ankle-length skirt, and several layers of ruffled petticoats. Around 1850, the number of petticoats decreased as crinolines became popular, expanding the size of skirts. Day dresses had a plain bodice, while evening gowns were low-cut, leaving the shoulders bare. These outfits were typically completed with a shawl and gloves that extended just above the elbow.
The 1860s saw skirts flatten at the front and round out at the back. Daytime attire often included pagoda sleeves and high collars adorned with frivolous lace. Evening gowns, deeply cut at the neckline with short sleeves, were worn with short gloves or crocheted mittens. From the 1870s, indoor dresses became less structured, shedding corsets for informal occasions, and bustles replaced crinolines.
By the end of the 19th century, clothing styles became simpler: bustles and crinolines fell out of fashion, and dresses were worn less tightly. Corsets remained but were elongated, giving women a slight S-shaped silhouette. Skirts took on a trumpet shape, fitted snugly over the hips, cinched at the waist, and flared out above the knee. Concurrently, clothing ranges designed for sports became popular, catering to activities like cycling, tennis, and swimming.
Men of the era typically wore three-piece suits with long jackets and fitted trousers. Distinguished dandy attire, such as frock coats and top hats or bowler hats, was very popular. Accessories were also crucial, with bow ties, gloves, and scarves adding a touch of sophistication to each outfit.
In 1807, the mass production of clothing in factories and their sale in stores at fixed prices began to accelerate. Home sewing was still common but began to decline. New machinery changed the way clothes were made.
The introduction of the sewing machine in the mid-19th century, which allowed for a locked stitch, simplified garment making both at home and in shops. This mechanical advancement made it easier to apply various intricate decorations that were challenging to craft by hand. Lace-making machines significantly reduced the cost of lace, making it more popular.
Among the new materials from distant lands within the British Empire was rubber, used to manufacture rubber boots and Mackintosh coats. Chemists developed synthetic dyes that were brighter and more durable than natural ones.
Hats
During the early decades of the Victorian era, voluminous skirts supported by hoop understructures were the central element of a woman’s outfit. Hats, designed to complement the silhouette without distracting, remained modest in both size and appearance. The “invisible” bonnet, worn during the late Regency period with its circular brim mirroring the bell shape of the skirts, eventually lengthened to the point of obscuring the wearer’s face.
By 1870, as silhouettes became slimmer, hats shrank and were perched forward on the forehead. Hairstyles became more intricate, with curled hairpieces adding volume to natural hair.
Toward the end of the period, the fashionable silhouette resembled an upright triangle, and wide-brimmed hats came into vogue. These hats were lavishly adorned with silk flower arrangements, ribbons, and exotic feathers, the most coveted of which came from birds nearly exterminated in Florida’s Everglades.
Steampunk – the fantasy version of the Victorian era
The Victorian era, marked by advanced technologies such as the railway, is a favored period for the Steampunk movement. Steam engines, gears, and all sorts of mechanisms are central themes… Modern inventions and technologies are reimagined, which is the essence of Steampunk.
Jewelry during Queen Victoria’s reign was often made by hand
Artisans in Great Britain were frequently sought after to craft brooches, rings, and necklaces, often commissioned as gifts, reflecting a significant level of craftsmanship. On the other hand, some jewelry was also factory-made, using basic techniques under the supervision of an experienced jeweler, with the proletariat serving as the labor force for production.
Victorian-era jewelry was often highly ornate, featuring numerous precious stones and intricate settings. Mourning jewelry was also fashionable during the Victorian period, including cameo pieces and jewelry made from human or animal hair. Less affluent Victorians used cheaper materials like glass and mother-of-pearl, yet these pieces remained elegant and decorative.
The style of Victorian jewelry is quite distinctive, characterized by the use of jet, diamonds, and coral. It tends to be heavy and ornate, conveying an impression of wealth and luxury. While Victorian style may seem a bit dated to the modern eye, it remains highly popular, with many companies offering reproduction jewelry inspired by genuine Victorian pieces.
Named after Queen Victoria, who reigned in the 19th century, Victorian fashion is known for its long skirts, intricate lace, and high-collared bodices. While creating a Victorian-inspired outfit might seem labor-intensive, the result is truly worthwhile. Adding some mechanical elements or pairing it with accessories like a top hat can make a striking impression.
Victorian boots
Victorian lace-up boots were particularly popular among women, and their unique style is still appreciated today. Authentic reproductions are often made with the same materials as the original Victorian lace-up boots and are available from various sources. Some people may prefer boots made from synthetic materials rather than leather, due to cost considerations or personal preference.
Victorian women’s boots come in two main styles.
They are available in both low and high cuts, with varied colors such as green, red, and white, though black and brown remain the most common choices. The laces typically run up the front of the shoe, from the foot to the top of the boot, and the heels usually measure between 2 to 3 inches high, with an hourglass shape. The most distinctive feature of Victorian lace-up boots for women is their very pointed and narrow toe, which may require buying a size larger than usual to ensure the toes are not overly compressed.
This trend will introduce us to great designers like Vivienne Westwood and John Galliano.
CONCLUSION
The major Fashion Weeks in London, Milan, and Paris each showcase their creativity, reflecting their rich histories and journeys. Each city features designers who draw inspiration from the history of fashion and their personal stories—a sincere approach, but is that still the case today? It’s uncertain.
We must be wary that desirability isn’t just a marketing tactic. If it is, the brand or fashion house in question may not last in the long term.
Fashion should inspire dreams and continue to be a social phenomenon.
Let’s not forget that fashion is the most glamorous ambassador!
