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 THE
GREAT
FASHION
DESIGNERS
 THE
GREAT
FASHION
DESIGNERS
BRENDA POLAN AND ROGER TREDRE

Oxford • New York

English edition
First published in 2009 by
Berg
Editorial offices:
First Floor, Angel Court, 81 St Clements Street, Oxford OX4 1AW, UK
175 Fifth Avenue, New York, NY 10010, USA
© Brenda Polan and Roger Tredre 2009
All rights reserved.
No part of this publication may be reproduced in any form or by any means without the written
permission of Berg.
Berg is the imprint of Oxford International Publishers Ltd.

Library of Congress Cataloging-in-Publication Data

A catalogue record for this book is available from the Library of Congress.

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

ISBN 978 1 84788 228 8 (Cloth)

978 1 84788 227 1 (Paper)
Typeset by Apex CoVantage, LLC, Madison, WI, USA
Printed in the UK by the MPG Books Group
www.bergpublishers.com
CONTENTS

Acknowledgements ix
Foreword xi
Introduction 1

PART 1 EARLY DAYS

Introduction 7
Charles Frederick Worth 9
Callot Soeurs 13
Jeanne Paquin 17
Paul Poiret 21
Mariano Fortuny 25

PART 2 1910s–1930s
Introduction 31
Jeanne Lanvin 35
Gabrielle Chanel 39
Jean Patou 43
Madeleine Vionnet 47
Elsa Schiaparelli 51
Mainbocher 55
Adrian 59
Salvatore Ferragamo 63
Madame Alix Grès 67

PART 3 1940–1950s
Introduction 73
Cristobal Balenciaga 77
Christian Dior 83
Charles James 87
Claire McCardell 91
Hubert de Givenchy 95
Pierre Cardin 99
Mary Quant 103
Rudi Gernreich 107

PART 4 1960s–1970s
Introduction 113
Norman Norell 115
Yves Saint Laurent 119
André Courrèges 123
Valentino 129

vi
Karl Lagerfeld 133
Halston 137
Kenzo 141
Ralph Lauren 145
Issey Miyake 151
Geoffrey Beene 155
Calvin Klein 161
Giorgio Armani 167

PART 5 1980s
Introduction 173
Rei Kawakubo 175
Yohji Yamamoto 179
Vivienne Westwood 183
Paul Smith 187
Azzedine Alaia 191
Gianni Versace 195
Jean Paul Gaultier 201
Dolce & Gabbana 205
John Galliano 211
Donna Karan 215

vii
 PART 6 1990s–
Introduction 221
Miuccia Prada 225
Martin Margiela 229
Marc Jacobs 235
Tom Ford 239
Alexander McQueen 243
Nicolas Ghesquière 247
List of Illustrations 251
Bibliography 253

viii
ACKNOWLEDGEMENTS

The authors wish gratefully to acknowledge the Brenda Polan would like to thank the many editors
academics and fellow journalists who have been who have employed her to write about fashion,
quoted and referenced in this book and the many particularly Dame Liz Forgan who, as the Guard-
who may not figure here but have, over the years, ian’s women’s editor, glanced across a crowded
provided a basis of knowledge and insight upon features room and plucked her off the late subbing
which our own expertise is built. The history and shift and on to the front row at Yves Saint Laurent.
culture of dress is becoming a well-explored She dedicates this book to her siblings, Anthony
field, but, in researching and writing this book, and Sonia, and to her travelling companion, Colin.
which is intended to inspire further study, we
have concluded that, when it comes to fashion, Roger Tredre would like to thank his former col-
among all the picture books, there are some lam- leagues at The Independent, in particular Sarah
entable gaps on the shelves, gaps that should Mower, Lisa Armstrong and Marion Hume, and at
be filled with real thought and analysis. There are The Observer and WGSN. Over 10 years, he has
many fascinating books, works of research and appreciated the support and encouragement of
scholarship, on the great fashion designers and Louise Wilson at Central Saint Martins and of the
their often equally interesting peers just begging 100 MA students he has been fortunate to teach.
for an author. Both authors have worked closely Thanks to Oriole Cullen at the Victoria & Albert Mu-
with the photographer, Chris Moore, over several seum for suggesting the inclusion of Callot Soeurs
decades and would like to acknowledge both and to Elizabeth Richardson for her efficient photo
his invaluable help with this book and his long research. He dedicates this book to his parents
friendship. and to his family—Jennifer, Olivia and Nicholas.
FOREWORD

There are 50 designers in this book. Are they really indeed live down to Beaton’s critique, we found the
the greatest designers of all time? Your call! Our names we’ve spoken to over the years were often
selection was achieved only through much debate, articulate—particularly if you caught them away
sometimes learned and courteous, sometimes out- from the frenzy of the show season. But our plan to
rageous and alcohol-fuelled. We acknowledge the turn our collected interviews into a book was aban-
impossibility of achieving consensus for such a list. doned after thoroughly rereading them. Although
Creating a list of fashion designer all-time greats these interviews provide valuable insights into
is a wonderful parlour game that we hope all our designers’ thought processes and work methods,
readers can enjoy playing. Our choices reflect our they are moments in time. Many of them read to
careers and our personal interests, although not us as outdated. The designers had moved on, and
too much (we hope) our British nationality. so had we. How much better, we thought, to write
essays that summed up these designers’ careers,
We began on this project modestly enough by drawing on our personal insights into their work
simply planning to bring together in book form our and all those valuable transcripts gathered over the
collected interviews with designers over the years, years. We also read widely, including the available
published mostly in British newspapers and maga- books and academic literature and the wealth of
zines. It was a comprehensive list, we thought, interviews in newspapers and magazines (mostly in
dating right back to Brenda Polan’s interview with Britain and America) by our journalistic colleagues.
André Courrèges in August 1979 for The Guard- We have endeavoured to cite all our sources accu-
ian. They ranged from the detailed and in-depth rately: if we have overlooked any reference, we will
(four interviews with John Galliano over a period of rectify it in future editions of this book.
four months leading up to his spring/summer 1991
show in Paris) to the on the fly and brief (twenty The book evolved into a broader project as we dis-
minutes with Tom Ford backstage after a YSL cussed who were suitable subjects for inclusion. As
menswear show in January 2001). In total, we have we both segued in our respective careers during the
interviewed eighteen of the designers in this book early noughties from the arena of journalism to the
(and many more who are not). world of teaching at University of the Arts London,
our interests broadened and deepened. Exploring
In his witty and insightful book, The Glass of Fash- the career of Karl Lagerfeld naturally led us to re-
ion, Cecil Beaton wrote: `Dressmakers … are apt visit the career of Chanel; likewise Nicolas Ghes-
to hate their genus and seldom meet one another, quière prompted a rediscovery of Balenciaga.
for jealousy, envy and rivalry consume them. With
few exceptions they are a tiresome, unreliable We have endeavoured to produce the book we
brood. Almost all inarticulate, they have never in- wish we had in our hands when we were feeling
vented their own vocabulary, and their abuse of our way into fashion: a comprehensive introduction
the French words chic and élégant have almost to the most important designers, with guidance for
robbed these adjectives of their significance.’ Al- further reading, written in an accessible but au-
though we regretfully note that some designers do thoritative style. The personalities of the designers
are as interesting to us as their designs—the two constant capacity of fashion to renew itself and
often intertwine, most notably in the career and life stay fresh. And we hope that you, the reader, enjoy
of Chanel. Our book complete, we marvel at the sharing this with us.

xii
INTRODUCTION

In 2001 American fashion trade newspaper Wom- the other hand happy to sell models to upmarket
en’s Wear Daily (WWD) marked its ninetieth anni- stores for copying. Few have been as relaxed about
versary by asking fifty-three leading designers who the issue as Coco Chanel—or American designer
were the three most important designers of the Norman Norell, who provided working sketches of
past ninety years. The results were fascinating, not his 1960 culotte suit to the trade free of charge to
perhaps for the runaway ‘winners’ (Coco Chanel ensure that his design would be copied properly.
with thirty-four votes and Yves Saint Laurent with These days, many designers work directly with their
twenty-nine), but for the other names cited and the biggest copyists, the fast fashion chain stores, in
explanations offered. Giorgio Armani cited Jean effect copying themselves by creating low-priced
Paul Gaultier among his top three (‘for his ability collections in short- or long-term retail linkups.
to make fashion ironic’). Nicolas Ghesquière in-
cluded Issey Miyake (‘he gave the Japanese con-

INTRODUCTION
For the WWD survey, the designers were also
cept of deconstruction a European femininity and asked to decide who were the three most impor-
sensibility’). More unpredictable names who are tant designers since 1980: Karl Lagerfeld won the
featured in this book included Adrian and Rudi most votes, followed closely by Giorgio Armani,
Gernreich. The ever-prolific Karl Lagerfeld, who Rei Kawakubo, Jean Paul Gaultier and Tom Ford.
received three citations himself, sent a five-page Lagerfeld noted Chanel, Gucci and Prada but put
fax dividing the twentieth century into three distinct fashion designers firmly in their place by referenc-
periods: 1905–1939 (Poiret, Vionnet and Chanel); ing Nike, Levi’s and Adidas. ‘They are fashion for
1945–1960 (Dior, Balenciaga and Chanel); and today, too, and worn by more people than the
1960–1970 (Courrèges, Saint Laurent, Vionnet, fashion of the fashion world we talk about.’ Marc
Chanel and Balenciaga). Jacobs brought the designers down to earth by re-
calling the celebrated comment from fellow Ameri-
The very earliest couturiers received barely a can designer Bill Blass that the words ‘dress’ and
look-in, perhaps reflecting the short-term memory ‘important’ should never be mentioned in the same
of fashion (although Alexander McQueen voted for sentence. ‘I’m going to paraphrase,’ said Jacobs.
Charles Frederick Worth). The constant interaction ‘The words ‘designer’ and ‘important’ should never
between craft and commerce was highlighted, and be mentioned in the same sentence.’
designers were quick to applaud fellow design-
ers who were skilled at business and marketing as Over the past two decades, the meaning of the term
much as creativity. Influence was paramount. ‘Who ‘designer’ in relation to fashion has become a free-
has the biggest influence?’ declared Karl Lagerfeld. for-all, inviting a wide variety of interpretations. From
‘It’s unimportant who is the most gifted.’ business moguls to celebrities to genuine creative
geniuses, everyone and anyone can claim designer
One means of determining influence is to ask the status. The industry was dominated by couturiers
question: who is the most copied? Designers have until the 1960s when the ready-to-wear styliste and
had an equivocal attitude towards this issue from créateur came to the fore. In more recent years, the
the very early days of couture, on the one hand broader interpretation of designer has made it chal-
threatening legal action against copyists, and on lenging to define true greatness—many designers

1
are only as good as the team behind them. Is the itself—is not a story of constant progress. Fashion
product manager a designer? Can the famous per- (perhaps like history too) has an intrinsic cyclical
sonality behind a celebrity brand be considered a nature. It looks backwards as much as forwards.
designer? For the purposes of this book, we have Jeanne Lanvin, for example, made full-skirted eve-
accepted an all-embracing interpretation of the ning dresses at a time when Chanel was champion-
word, covering skill sets ranging from pure design ing short hemlines. The modernist wins out over the
to brand management and marketing to pure busi- nostalgist every time. But Lanvin’s very significant
ness. In the final analysis, though, it is the influence success, as noted by historian Nancy Troy, raises
of each individual designer that has driven our se- important questions about the conventional narra-
lection. Echoing Karl Lagerfeld’s point to WWD, tal- tive of fashion history. Perhaps we should highlight
ent is not enough. more the retrospective and nostalgic characteris-
tics of some of the greatest fashion.
We have acknowledged the significance of com-
mercial achievements in compiling our list. British It may become harder still in the future to identify
designer Paul Smith may strike some readers as a the skill sets of a designer. New technology makes
surprise choice, but his success as an Englishman design by computer a doddle. In future, all of us
in creating an international fashion brand without the can play the role of designer. Even the once time-
backing of a major luxury group gives him a unique consuming process of research can be shrunk in
status. Success is founded, he says, on being ‘90 an instant to a few hours on the Internet.
per cent businessman and 10 per cent designer’.
Not all designers have been proficient in all aspects
Many great designers have also been great busi- of design, as Dean L. Merceron points out in his
ness people, and others have succeeded through biography of Jeanne Lanvin. For years, Paul Smith
long-lasting linkups with business-minded part- referred to himself as a ‘getter-togetherer of fashion’
ners, such as Yves Saint Laurent with Pierre Bergé. rather than as a designer. Jean Patou once famously
We were inspired by the ground-breaking research said: ‘I wouldn’t know how to design. I couldn’t even
of Nancy J. Troy, the American fashion historian, in if I wanted to, for I can’t draw, and a pair of scissors
Couture Culture: A Study in Modern Art and Fashion in my hands becomes a dangerous weapon.’
(2003). She explored the links between fashion and
commerce, particularly through the work of early The skills needed to be a fashion designer are cer-
twentieth-century couturier Paul Poiret. Designers tainly changing; there is less emphasis on techni-
have always understood the importance of a cre- cal prowess and more on an instinct for trends. In
ative image for driving forward their businesses. An future, more consumers are likely to design their
observant reporter for The New York Times, writing own clothing and order items directly from the
back in 1913, said of Jeanne Paquin: ‘She main- manufacturer. In turn, the role of shops will change
tains the attitude of an artist, but we know she is to become places where customers pick up pre-
the most commercial artist alive.’ purchased clothing.

Early fashion was dominated by men such as Designers are increasingly interpreters of other
Charles Frederick Worth and Paul Poiret, who often people’s visions, playing a mercenary role, from
overshadowed the achievements of women such Karl Lagerfeld at Chanel and Fendi to John Galliano
as Jeanne Paquin and Marie Callot Gerber. This at Dior and Nicolas Ghesquière at Balenciaga. But
book tries to nudge back the balance a little more in this book is not a lament for the lost world of cou-
these women’s favour, although we acknowledge ture. We share the view of Nicolas Ghesquière, the
that the flamboyance of personalities such as Poiret youngest name of our fifty. ‘I don’t think couture fits
was an integral part of the makeup that made him our world … Anyway, I have the luxury of using the
so influential. couture techniques in my ready-to-wear.’

Another important point to make is that the develop- We have skewed our selection towards the second
ment of fashion—just as the development of history half of the twentieth century, reflecting our interests

2
and the perceived interests of our readers. The We acknowledge that the very title of this book
fashion world has a notoriously short memory. As has an old-fashioned ring about it. Academic re-
curator Harold Koda has written, ‘The high fashion search these days often prefers to play down the
system with its seasonal advocacy of the new and roles of individuals, exploring the broader socio-
an associated obsolescence of preceding styles, economic context. There is an alternative history
perhaps inevitably dismisses, if not obliterates, that explores the contribution of les petites mains,
its own history.’ How important is the fashion de- the women who toiled in the ateliers to bring the
signer today? Harold Koda says designers rarely designers’ creations to life. The word atelier should
dictate. ‘Now you can have so many designers that not be used to disguise the fact that the big couture
each one becomes a barometer of a different as- businesses of the early decades of the twentieth
pect of our consciousness of the world.’ Fashion century were essentially factories: in 1901, Femima
consultant Jean-Jacques Picart believes designer magazine described the house of Redfern as ‘a
pronouncements on fashion are coming to an end. veritable factory of elegance’. Only a small handful
‘We have entered an era of fundamental change,’ of enlightened employers, most notably Madeleine
he says. ‘Yesterday’s recipes for success are no Vionnet, showed compassion to their workforce.
longer valid.’ Chanel, by contrast, was monstrous.

The designer’s job today remains challenging. Miuc- That said, we believe the personal stories of the
cia Prada reflected on changing times in an interview great names of fashion are an excellent starting
with Ingrid Sischy in 2006: ‘In general, designers of point for more detailed reading and observation.
past decades had to deal with a small community of Through the achievements of these designers,
rich bourgeois people in France, in Italy, in America, we see fashion at its most inspirational. The Brit-

INTRODUCTION
or in England … And so, to do clothes for these
people in a way was much easier, because it was
very simple. Now, in a way we have to dress people
of different culture, different nationalities, different
religions, different worlds.’ Virtually all designers re-
ish journalist Claudia Croft, writing in The Sun-
day Times in February 2009, noted that ‘one of
fashion’s great strengths is its ability to make us
dream. As much as it reflects the times, it also
provides respite from them.’ We couldn’t agree
coil at over-analysis of their work. Even a name such more. Fashion is a sociocultural indicator and it is
as Karl Lagerfeld, who has a deep understanding of a business, but it is also (to quote John Galliano)
the history of fashion, comments: ‘I hate the idea of a journey into escapism, fun and fantasy. Join us
fashion being intellectualised.’ on that journey.

3
 PART 1

Early Days
Introduction dressing, drawing on ancient Greek models that
followed the natural silhouette. Most of their ideas
remained theoretical, but the guidelines were in
In the nineteenth century, fashion was a game of place for change. Women were also beginning to
social status reserved for high-society women and find a place for themselves in the business of fash-
theatre stars of independent means. Trends trickled ion. In the 1890s, Jeanne Paquin founded her own
down, but not very far and not very fast: the sheer couture house, while Marie Callot Gerber and her
cost of clothing ensured that. Women’s fashion was sisters established the house of Callot Soeurs.
spectacularly restrictive. The corset squeezed the
rib cage while the crinoline and full-length hemlines By 1900 and the dawn of the twentieth century,
restricted movement. Individuality was frowned the core fashion message from Paris showed few
upon: the role of a woman in genteel society was signs of moving forward. The S silhouette, which
essentially conformist, focusing on children and thrust a woman’s breasts forward and her derrière
social life. backward, was the fashionable look of the period.
Mariano Fortuny ’s loose Delphos Dress, created
Until the emergence of Englishman Charles Fred- in 1907 and worn by the dancer Isadora Duncan,
erick Worth in Paris in the late 1850s, a customer hinted at a radical shift in direction, but it was Paul
would buy fabrics separately, and then take them to Poiret who had the biggest impact, promoting a
a dressmaker to be made up. Worth brought these natural silhouette, loosening the constricted waist
activities together and created the model for the and doing away with the more severe versions of
fashion house that dominated throughout the the corset. His emergence came as the brassiere
twentieth century and into the early twenty-first. received a mention in Vogue for the first time.
Although his dresses reflected the restrictive ethos
of their time, his achievement as the founder of the Both Worth and Poiret believed their expertise gave
modern fashion system remains undiminished. them the right—and duty—to dictate to their cus-
tomers. A woman must be guided in her desire for
The late nineteenth century saw the first stirrings a new fashion, they thought. But couturières such
of women’s emancipation. British tailors Charles as Jeanne Paquin and Callot Soeurs were more in-
Poynter at Redfern and Henry Creed, who both clined to listen to their customers. The first decade
flourished with shops in Paris, had introduced of the twentieth century concluded with Paul Poiret
tailoring to women’s fashion. But Pre-Raphaelite at his peak, inspired by orientalism, which drew in-
artists and the Aesthetes promoted a new kind of fluence from all points east.
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