Couture. It’s the pride of the French fashion industry but a practice that is near collapse, overtaken by the speed and efficiency of the ready-to-wear market and the subsequent mass production that perpetuates fast fashion. The high cost of high couture screams only of wealthy women. With dresses priced in the tens of thousands, for the majority it’s a luxury that is well beyond reach. Especially in this uncertain economic climate. Of course there are reports that try to convince sales are increasing, profits are increasing, but for couture it may only be a short term miracle. How will couture survive beyond the next cycle?
Houses that are built on history and legacy need to modernise and move forward with youth. There has been a revival in seasons of late for has-been couture houses, their “rebirth” driven by relative unknowns. Think Nicoll for Cerruti and Henry for Carven. Hen-ri? But of course! Guillaume Henry has been plucked from relative obscurity to revive a house that in its heydey was once serving the sporty styles of petite ladies in Paris. Natalie Massenet was the first to cotton on to Carven’s revival and in three seasons the Carven character has spread, quickly, from a sole stockist to some of the world’s best boutiques.
Net-A-Porter aside, you’ll find Carven at Opening Ceremony, Belinda and Colette, which gives a pretty clear idea of the direction for the brand. Carven still embodies Parisian chic but it’s free from the ostentation that is typical of high fashion. Ok, so it’s not entirely exclusive and it’s a move away from the traditional role of haute couture, but it’s accessible. It’s their intention. And yet Carven continues to be concerned with proper dressing. The level of workmanship, the atelier, the hours, the fittings; it’s all forgone in favour of stylish fashion for a fair price. There’s still respect for the brand’s heritage, for quality and creativity, but it’s about finding a balance between luxury and distribution. No trends though. Just timeless pieces. And that is typical of couture.
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