Haute couture

Beginning in the mid-nineteenth century, Paris became the centre of a growing industry that focused on making outfits from high-quality, expensive, often unusual fabric and sewn with extreme attention to detail and finished by the most experienced and capable of sewers—often using time-consuming, hand-executed techniques.

Their rules state that only "those companies mentioned on the list drawn up each year by a commission domiciled at the Ministry for Industry are entitled to avail themselves" of the label haute couture.

[5] The Chambre Syndicale de la Couture Parisienne is an association of Parisian couturiers founded in 1868 as an outgrowth of medieval guilds that regulate its members in regard to counterfeiting of styles, dates of openings for collections, number of models presented, relations with press, questions of law and taxes, and promotional activities.

The term haute couture has also taken on further popular meanings referring to non-dressmaking activities, such as production of fine art and music.

Seamstresses were only one part of this complex network and process, and included domestic manufacture, imported products, and work alongside guilds such as the lacemakers, ribbonmakers, fashion merchants, embroiderers, pin and needle peddlers, etc.

[10] Seamstresses did not operate public shops, unlike tailors, but instead relied on word of mouth and connections to procure high-end clientele.

French fitters and dressmakers were commonly thought to be the best in Europe, and real Parisian garments were considered better than local imitations.

[14][citation needed] A couturier (French: [ku.ty.ʁje]) is an establishment or person involved in the clothing fashion industry who makes original garments to order for private clients.

[citation needed] The couturier Charles Frederick Worth is widely considered the father of haute couture as it is known today.

Following in Worth's footsteps were Callot Soeurs, Patou, Paul Poiret, Madeleine Vionnet, Mariano Fortuny, Jeanne Lanvin, Chanel, Mainbocher, Schiaparelli, Cristóbal Balenciaga, and Christian Dior.

The most successful of these young designers were Yves Saint Laurent, Pierre Cardin, André Courrèges, Ted Lapidus, and Emanuel Ungaro.

[18] For all these fashion houses, custom clothing is no longer the main source of income, often costing much more than it earns through direct sales; it only adds the aura of fashion to their ventures in ready-to-wear clothing and related luxury products such as shoes and perfumes, and licensing ventures that earn greater returns for the company.

It is their ready-to-wear collections that are available to a wider audience, adding a splash of glamour and the feel of haute couture to more wardrobes.

[19] Fashion houses still create custom clothing for publicity, for example providing items to celebrity events such as the Met Gala.