Evening dresses by Fructus et Cie. Belle Epoque Fashion France 1916.
Robes du soir. Tissus de Coudurier, Fructus et Cie. Dentelles de Thiebault. Broderies de Lefranc. Ruban de Raimon.
Modèls des LES ÉLÉGANTES PARISIENNES.
Fig. Middle Robe de gros de Londres bleu pâle ourlée d’un ruban de taffetas citron semé de roses bleues. Patron 926, coloris 4. de la Maison Raimon. Guimpe et dépassant de dentelle d’argent brodee à la main, de la Maison THIEBAUT. Tissus de la Maison Coudurier Fructus. Fig. Left Robe de taffetas rose, brodé d’argent, de perles fines et de corail d’apres la broderie de la Maison Maurice Lefranc et Cie. Fig. Right Robe en crépe Juliette blanche lamée or et rayée de petites fleurs multicolores. Patron 40523, coloris K de la Maison Coudurier Fructus. Dessous de tafettas blanc bordé d’un volant découpé, ceinture de taffetas bleu.
LES ÉLÉGANTES PARISIENNES. DE LA MODE PARIS. Revue Mensuelle. Avril 1916. NUMERO UN (Vol.1) Planche VI. Supplément des “Les Élégances parisiennes” N.1. Le Gérant: H. Bernard.
Callot Model of Black Satin and Lace. Paris Spring Season 1913.
Evening Dress, Black Satin. Draped skirt, sash draped around hips and waist with end in front held with handsome green buckle, green stones and tipped with gold. Black chiffon with black lace at feet. Gold and black lace for shoulder and waist with a deep shawl drapery of black lace flouncing edged with a band of gold lace, also forms sleeves. Reproductions of model gowns exhibited by Haas brothers, for the spring season of 1913 with shops in New York (303-305 Fifth Avenue) and Paris (13 Rue des Pyramides)
Founded in 1895 in the Rue Taitbout, Paris, of the four sisters Marie Callot Gerber, Marthe Callot Bertrand, Regina Callot Tennyson-Chantrell and Josephine Crimont Callot. Her mother taught her the art of lace making. The oldest of the sisters, Marie, was a trained dressmaker who had previously worked in renowned tailors, as Raudnitz and Co., at that time one of the leading tailors in Paris. They used initially old lace and ribbons and decorated so that blouses and lingerie. The success of the then ceased, they led the move to a bigger building and an extension of their collection. Their fashion was working very complicated and costly. They used one of the first fashion designer, even more exotic materials such as gold and silver lamé, a fabric woven with metallic threads, which achieved a metallic effect. In addition, they provided the clothes, with most exquisite embroidery for an illustrious, international clientele. In the ’20s, Callot Soeurs was one of the leading Parisian fashion houses. In the 30′s and 40′s, the market was fought very strongly, Worth, Coco Chanel, ect. so that they compete with their elaborate creations had become unmanageable. In 1952, the fashion house has been closed.
Callot Model of Chiffon and Taffeta. Paris Spring Season 1913.
Afternoon Dress of White Satin. Clouded with blue Callot chiffon. Overskirt draped to match chiffon. Old blue taffeta coat with belt and sash. Tassels of silk and beads to match taffeta. Garniture of same and long tassels. White tulle and soft folds of net. Published by Haas brothers. Cocktail dress créateur couturier Callot Soeurs.
The Gallery of Fashion April 1796. England Evening Dresses.
Turban of white satin; bandeau embroidered in silver; diamond pin, and black velvet loop, trimmed with diamonds in the front; the hair intermixed with the turban; the hind hair turned up plain and short; three white ostrich feathers placed in the front. White satin petticoat, the bottom embroidered in gold; short petticoat of white crape, the bottom of it also embroidered in gold. Body of purple velvet, buttoned in the front with one large and two small diamonds; diamond clasp upon the shoulder. White crape full sleeves with puckered cuffs, bound with gold; upper bracelets and girdle of black velvet, set with diamonds. Diamond necklace and ear-rings. White and gold shoes.
Chiffonet of white crape with gold spangles; the hair combed straight round the face; the hind hair turned up plain and short, the ends in ringlets, intermixed with the chiffonet; broad gold slider. Gold bandeau. Long string of pearls with a large tassel, crossed upon the chiffonet. Two white ostrich feathers. Petticoat of white lawn richly embroidered at the bottom. Body of rose-coloured satin, tied upon the shoulder with a white satin riband with silver spangles. White satin long sleeves, trimmed with blonde, and a small gold chain and button; short full upper sleeves of lawn spangled in silver, crossed and fastened also with a large gold chain and button. Large gold chain round the waist. Gold ear-rings and gold festoon necklace. White shoes crossed with gold.
Gallery of Fashion Vol. 3, 1795-1796. Published by Nicolaus Wilhelm von Heideloff, London.
Model of Black Worth Satin. Paris Spring Season 1913.
Model Black Worth Satin. Draped skirt caught up with a fancy silver lace. Myrtle green chiffon trims waist over white silk and points of silver lace. Shoulder caps, elbow and neck trimmed with same. Soutache trimmed shoulder and arm down front and ornaments of waist. Fancy ornament in back of waist. Cocktail dress by Charles Frederick Worth. Published by Haas brothers.
Evening Coats, Paris 1917. Modèls de Élégances Parisiennes
Modèls de Élégances Parisiennes MANTEAUX DU SOIR 1917 Broderies de Schiller Fin de siècle fashion
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