For your Erudition - HG

Bettina Blouse

 HUBERT GIVENCHY

Time to get serious again..... continuing series on the history, legacy and benefits of past designers. Hopefully you'll learn something, or at least appreciate today's fashion. Because, folks, not surprisingly, nothing's new!

Born in 1927 to an aristocratic French family Hubert James Taffin de Givenchy was raised predominantly by his mother and maternal grandmother from whom he inherited his passion for fabrics. He headed to Paris at the age of 17 and enrolled at the Ecole des Beaux-Arts. Apprenticed to Jacques Fath in 1945, he then worked under the legendary Italian designer Elsa Schiaparelli. Givenchy made an immediate impression - statuesque and handsome (he was 6' 6") and his designs epitomised glamour and femininity. 

            In 1952, he established his couture house, la Maison Givenchy, launching his debut collection of separates; light floor-length skirts and stunning blouses, including the celebrated Bettina Blouse, named after model of the day Bettina Graziani. The Bettina Blouse was actually made from a cheap cloth that was normally used to produce the toile for the more luxurious fabrics. A collection of separates was novel in the era of couture dresses and ball gowns. The idea that a woman could mix and match and stamp her own personal style upon Givenchy's clothes, rather than wear solely as the designer intended, released a new philosophy in the rarified world of the haute couturier and its customers. Two years later he broke the mould again and became the first couturier to present a luxury ready-to-wear line.

Interestingly, he inherited his design aesthetic of simplicity from his friend and mentor, Cristóbal Balenciaga (see For your Erudition - CB). The two were designing at the same time in Paris and no doubt inspired each other. During this era of collaboration and friendship Givenchy introduced (simultaneously with Balenciaga) the sack dress, acclaimed as “a genuinely new fashion shape.” 

    Givenchy is credited with pioneering the princess silhouette: in simple terms, a fitted bodice, small tight waist with a full flared skirt. Extremely feminine and glamourous. While this style of dress had been around for many years before, Givenchy transformed it from the evening only ball gown to the everyday dress.

You cannot acknowledge Givenchy's contribution to fashion legacy without mentioning at least his long term relationship with Audrey Hepburn. The two practically go hand-in-hand, both through an evolution of her personal style and a development and popularity of his designs. I can't help wondering where either of them would have ended up if it hadn't been for this close collaboration. A symbiotic relationship that benefited both, I believe. In the words of Hepburn, Givenchy to her was more than a couturier, and indeed she to him far more than a muse. Theirs was a relationship not only of professional advantages, as they propelled one another into the royalty of their respective worlds, but one of deep and long-lasting affection, that would continue for more than forty years.

Givenchy designed Audrey Hepburn's personal ensembles, as well as those made famous by her in the films Funny Face, Sabrina, and of course that little black dress in Breakfast at Tiffany's.

 

Interestingly, Givenchy was told to expect Ms Hepburn at his studio in Paris for a costume consultation for an up and coming film, Sabrina (1954). Mons. Givenchy, not completely au fait with Hollywood celebrity and current affairs, anticipated Ms Katherine Hepburn to appear and had already started to draft designs based on her figure and style. But who should turn up at the door? But Audrey!

This little story of coincidences and serendipity makes me feel all warm inside as the theme of my SWAP 2013 is the Hepburn - based upon both ladies' styles and I've only just learned this story because of the research and reading done for this post.

Although we admire Audrey's gamine figure today, back in 1950 it was the opposite of Hollywood glamour. Think Marilyn Monroe, Elizabeth Taylor, Jane Russell at al. - all hourglass, cleavage, hips - curves and sex appeal from head to toe. Then along comes the boyish stick figure of Audrey. Personally, I see that Givenchy gave her the curvaceous, feminine figure desired at the time as defined by his clothes and cut: waistlines, gathers and drapes over the hips to widen and round, high necklines to disguise lack of cleavage but still creating the all important sex appeal. For this reason - fullness over the hips -  he has never been on my list of favourite European designers I being one of those (un)fortunate beings who do not need anymore fabric that absolutely necessary in that area. But I do admire his style and skill in being able to create an hourglass figure where none exist with just the cut of a skirt or a dress.

1966

By the 1970 and 80s Givenchy appeared to be losing, not only his muse in Audrey (she died in the early 1990s) but the inspirational designs that preceded. She was spending more and more time on humanitarian work and he was severely criticised for his lack of creativity and originality in one collection as it was  considered to be tediously ladylike.

This may have contributed to him selling the business to Louis Vuitton Moët Hennessey in 1988, and ultimately to retiring in 1995. Still alive in his 80s and enjoying his retirement, Givenchy has very little to do with the fashion world today but his legacy lives on. He created a style that requires no embellishment - ever see embroidery or jewels on an original Givenchy? The clothes create the mystery of the figure beneath and they are the only decoration a girl needs. He selected and used the best and the most innovative of fabrics for his collections and let them speak for themselves. Givenchy's name and legacy have been synonymous with Parisian chic for more than 50 years and will continue for probably another 50. 

Looking back over his designs and creations we can, yet again, see the inspiration for many of today's trends and styles - but as we read and learn - nothing in this world is new!

1969 - Feathers cocktail dress

1971 - cotton, plastic, glass and silk

1975 - silk jersey - delicious

1980 - Burda S/S 2012?

More detail, procrastination and vital information can be found at the following sites:

http://www.vogue.com/voguepedia/Givenchy

http://www.metmuseum.org/collections/search-the-collections?ft=givenchy&rpp=60&pg=1

http://www.givenchy.com/







My thanks and credits go to coutureallure.com for images as well as the metmuseum and other images gleaned from Google

Next time, I think I'll deviate from my roots somewhat and head across the pond, but not towards a 'designer' but a Hollywood costumier. Any guesses who?


 

For Your Erudition

Christobal Balenciaga

Time to get serious..... New series on the history, legacy and benefits of past designers. Hopefully you'll learn something, or at least appreciate today's fashion. Because, folks, not surprisingly, nothing's new!
Having recently completed my third Chanel style jacket I was personally interested in the legacy these iconic designers have bequeathed us modern day sewers. 

What's this going to be?

Today we starting with a Spanish designer - Christobel Balenciagia.

Balenciaga worked from the body; he knew its failings and how to distract from them.

He used the stomach, shoulders, and hips as points of construction and support and knew how to flatten, straighten and smooth them with fabric. What more could you ask of an item of clothing?

I want to concentrate on is what Balenciaga gave us today - his inheritance if you like. I am not going to reproduce an autobiography, you can find that anywhere on the internet, I am concentrating on the legacy.

However, a short biography to set the scene - Balenciaga started in the tailoring business at age 14 and this served him throughout his time in couture and design, always basing ideas on the fundamentals of the properties of cloth and the shape of the body.  True to learning the hard and long way, Balenciaga came up through the ranks of the tailoring business, learning the basics, cutting and then moving into fitting. Due to a fortunate patroness of the aristocracy he became famous in his native Spain. But political and social upheaval (namely the Civil War) prevented him from remaining in his home and he moved first to London (tailoring) and then settled in Paris (couture).

He hardly ever incorporated stiffeners and wires (bones) to a dress but let interfacing, cut and design replace the restrictions of corseted clothing, unlike Dior at the same time. Comfort and flexibility were the imperatives of his design ethic – similar to Chanel’s – allowing a woman to move and breathe without constriction. A perfectionist, he inspired and mentored Dior, Oscar de la Renta, Hubert de Givenchy, Courreges and Ungaro.  At the time Balenciaga was competing against Dior and the two both admired and rivalled each other – giving us the complex and contrasting designs of the time.

Balenciaga clothes did not come cheap – in the 1950s a suit would cost in old money Fr 110,000 about £ $220,300, €169,000 £ 100,00.00 in today's money - so not cheap by any standards.

He was adept at creating different sleeve styles (please note Rhonda!) and sought perfection in every design. He manipulated kimono style, Magyar, and set-in to exacting standards and this has resulted in the vast variety of designs we see today.

Remember, Balenciaga started in 1918 : after moving from Spain to France the first house of Balenciaga opened in 1937. That is when our Grandmothers, Great mothers were alive! His influence and enduring style has impacted on all our lives whether you have even heard of him or not.

Knee-high boots - Balenciaga started the trend

Baby-doll dresses - those are his!

Shift dresses (or sack as they were called then) - he started these as well

Asymmetrical hemlines - another of his creations

All these are Balenciaga’s ideas that we have incorporated and are still using today.
From 1967 Balenciaga was creating dresses with raised hemlines at the front - we still use this design ethic today.

Donna Karen drapes?
CB was there first with this gorgeous 1966 silk draped dress - on the right - perfection! BTW, the photo on the left is CB too, not DK.

It is staggering the ideas than emanated from Paris from 1939 onwards; as though a floodgate had been opened.

The innovations that Balenciaga made after 1939 were mainly in cutting techniques and it all started with the sleeve.  He was as much interested in the back of garment as the front and added darts, seams and ‘tricks’ to create lightness and movement for the fortunate wearer of his clothes. He was interested in the responsiveness of a garment to the wearer’s movements.

Look at this coat from 1964 made in wool. 

There are no side seams, so from the front it looks intact - one piece. At the back you can see the construction - three panels: lower incorporating the whole of the front; middle, incorporating the lower sleeves; upper, incorporating the upper sleeves and shoulders. Streamlined, that's what I call it.

Trippen shoes? Balenciaga was already inspiring designers way back in 1938. Made of silk and wood these represent architectural influences in fashion.

Published in Vogue 1939 as a design for Balenciaga, this pair of extraordinary shoes is actually the work of designer Steven Arpad. Like many designers at the time most of Arpad's work seems to have been done anonymously and released under the name of an established fashion house. 

Stella McCartney - sorry my dear - you are not original
Originally showcased in 1950 made from silk this dress/coat arguably initiates the oversized/cocoon style of 2011A/W collections.
















Remind you of something?
Tilton sisters - I fear you are subconsciously inspired by CB: no bad thing in my opinion. I love your designs and am glad I own your Vogue patterns.








You may know already that I have a small weakness for Paco Peralta's designs and patterns. Just in case you are unsure of this admiration just click on this link and you'll find unabashed adoration. Well, between you and me he quite recently admitted that his design ethic is similar to Balenciaga's - drape the fabric; see how it falls; cut to fit. Simple, classic and beautifully fitting clothing.

Dare I... Yes I do... Spanish design is apparently inherent in simple, classic, stylish and timeless design. Peralta and Balenciagia cut from the same cloth? Yes, but different times, different economic influences, different outcomes.

If you are interested in discovering more about Balenciaga's legacy please visit the following sites for designs and their history: believe me, it's fascinating and will easily divert you from sewing for 2 hours minimum. Procrastination - I'm giving it to you on a plate.

http://www.cristobalbalenciagamuseoa.com/Ingles.html

http://uniquedesignerpatterns.blogspot.com.es/search/label/Balenciaga

http://www.vogue.com/voguepedia/Balenciagay

And please, if you don't want to read anything but just look at pictures then go to http://www.metmuseum.org/collections/search-the-collections?who=House+of+Balenciaga&ft=*&rpp=60&pg=1  for a wonderful collection of original pieces.

Finally - those of you who guess what garment the pattern piece will morph into will win a prize, a pattern and you chose the item - dress, skirt, jacket, coat, blouse, top, shirt - I'll select one from my stash and gift it. Post anywhere - needless to say - your answer has to be correct in order to win. I'll check with you first if it's something you'd like - we can come to a compromise if necessary.

Emmm - Paco - you are forbidden from entering this competition! Although if I have a designer pattern in my collection that you'd like, I'll give it to you, even if you guess right or not, 'cause you're the best living, accessible designer for us amateurs and I know you like Vogue designer patterns.

I hope you all have learned something from this and found it interesting.

Would you like to know more about those designers who have influenced the designs and fashions of today? Send your preferred designers to comments section and I'll do the work - 'cause I'm not doing sewing at the moment.....