She is best remembered today as the subject of a number of portraits by Paul César Helleu (with whom she conducted an affair before opening her couture house)[3] and for the appearance of her name in two celebrated works of literature, Marcel Proust's Remembrance of Things Past (1910) and Evelyn Waugh's Vile Bodies (1930).

[4] Her name is also frequently associated with the fashion photography of Edward Steichen, whose favorite model, Marion Morehouse, often wore gowns from the house of Chéruit for Vogue magazine in the 1920s.

By 1910, Chéruit was one of the most celebrated designers in Paris, the unveiling of her latest collections closely followed by the press, her image drawn by leading artists, and her name mentioned by the ubiquitous Marcel Proust in his Remembrance of Things Past.

In 1910, one reporter wrote glowingly, "With taste, so original, so fine, and so personal, Madame Chéruit has placed her house of fashion at the first rank, not only in Paris, but in the entire world.

"[15] During her career, Chéruit refined for her aristocratic clientele the creative excesses of some of her contemporaries, offering soft, feminine, richly ornamented dresses which helped transition the couture industry from the glamour of high fashion to the reality of ready-to-wear.

Vogel hired leading Art Deco artists to fill the journal's pages with striking illustrations of the designers' fashions, along with essays by noted writers.

[17] Chéruit had a special affection for the artistic style of Pierre Brissaud, and he created most of the illustrations of her work that appeared in the pages of La Gazette du Bon Ton.

[19] However, in 1914, following a scandal involving her lover, an Austrian nobleman and military officer who was accused of espionage, Cheruit was forced into seclusion, a startling end to her enormous celebrity in French society.

[23] With the move toward simpler fashions after the war, typified by such designers as Jean Patou and Coco Chanel, Cheruit's taste for opulence lost appeal and she retired in 1923.