Costumes Aladin by Germaine Lecomte 1929.
Chic manteau de velours noir by Germaine Lecomte.
Costume design by French couturier Marie-Louise Bruyère.
Marie-Louise Bruyère (1918-1958), called Mme Bruyère (pronounced Broo-yair) was born in rural France, but her ambitious parents, Henri Bruyère and Jeanne Loubet, moved the family to the expanding suburbs of Paris, where they prospered.
The sophisticated neighbourhood of Saint Gratien, which included Napoleon I’s niece, Princess Mathilde, amongst its residents, impressed the young designer who trained first with the house of Cheruit, and then Lanvin. Madame Jeanne Lanvin asked her to become Première d’Atelier de Couture. By 1928, she opened her own fashion house, Bruyère Couture, which flourished as her fame spread internationally, allowing her to open a grand salon at 22 Place Vendome in 1937. She staged two fashion shows a year, containing up to 200 different outfits in cool raffish elegance.
Each outfit was assigned a different name. By 1947 she employed 328 people. The business continued to grow in scale and reputation, but from the mid 1950s it switched to producing prêt-a-porter outfits, and its name became increasingly eclipsed.
Simple gowns – Le style parisien 1915. Plate XV.
Robes Simples. Lanvin, Dœuillet, Chéruit.
- (Jeanne Lanvin). Frock in blue serge, foot of the skirt in velvet of a matching shade. This dress is slipped on like a chemise over under bodice with sleeves. It is split up at the sides as far as the hips over a foundation fastened to the skirt. Trimming of brown and red chain stitching mingled with gold threats. Buttons of blue coroso.
- (Georges Dœuillet). Dress in woolen checks. Front of bodice, belt and border of the skirt in satin of the darkest shade of the checks.
- (Madeleine Chéruit). Dress in woolen velvet striped in green and black with a blue stripe at intervals. On either side on the hips are two bundles of gathers sewn on up right peasant fashion. The bodice is lined with white taffetas likewise the collar which may be worn closed or open at will. The back is trimmed with a collar in marmot.
Gallery: Le style parisien. Planche XV. Supplément du ” Style Parisian ” No 3. Le Directeur – Gérant: Lucien Vogel.
Art deco Diner Gowns. Le style parisien 1915. Plate XIX.
Robes de Diner. Premet, Paquin, Dœuillet.
- (Premet). Dress of black tulle embroidered with a design in blue, and gold; foundation of black satin, bands of skunk.
- (Paquin). Black velvet dress, the back of the bodice is entirely made of silver lace which is brought over the shoulders and forms a yoke in front. The skirt is trapped and caught up behind with a touch of silver lace. Trimming in skunk.
- (Dœuillet). Dress of black velvet and Chantilly over a foundation in Liberty silk.
Gallery: Le style parisien. Planche XIX. Supplément du ” Style Parisian ” No 3. Le Directeur – Gérant: Lucien Vogel.
Afternoon dresses by Jeanne Lanvin 1915.
Robes d’Après Midi. Modèles de Jeanne Lanvin.
Left: Dress of plain claret velvet. Waistcoat and edging of the pockets in pink cloth. Silver embroidery at the collar, wrists and pockets. Cockades in silver ribbon; round silver buttons. Hat from Lanvin to match.
Right: Afternoon dress in black crimped crape trimmed with mole. Cockades of narrow faille ribbon arranged from top to bottom along the front. The bands of mole are placed in circles on the skirt and on the bodice, nearly under the arms. They also form epaulets. The gathered sleeves, widened as the elbow are transparent over the arm. Big soft muff to match. Hat from Lanvin`s in mole.
Gallery: Le style parisien. Plate I. Supplément du ” Style Parisian ” No 3. Le Directeur – Gérant: Lucien Vogel.
Flounce cocktail dresses 1915.
LE STYLE PARISIEN. ROBES DE FOULARD 1915. D’APRÈS LES TISSUS DE MOULAY ET SCHULTZ. Costumes according to the fabrics of Moulay & Schultz. Continue reading
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.
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.
Robe de taffetas rose, brodé d’argent, de perles fines et de corail d’apres la broderie de la Maison Maurice Lefranc et Cie.
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.
Avril 1916. NUMERO UN (Vol.1)
Planche VI. Supplément des “Les Élégances parisiennes” N.1.
Le Gérant: H. Bernard.
Jean Patou Mannequins 1925.
Jean Patou, 1880-1936, was a French couturier, costume designer. In 1912 he went to Paris and opened a small tailor-fashion atelier Maison Parry. His collection corresponded to the European and American style of that time – stylishly, understated, yet elegant and luxurious. Among his clients were actresses, singers and wealthy society ladies. He put his monogram (JP) as a stylistic element and thus was a model for other designers. In the early 1920s Patou designed his first sports collection, which was a real sensation at the UK tennis world championships at Wimbledon in 1921. Apart from fashion Patou created along with the famous perfumer Henri Alméras countless fragrances, including Amour Amour (1925) and Joy (1930).
Late fashion designs by Paul Poiret
Paul Poiret. Salon Oriental. 1925. Art Deco.