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Copying French Couture for American Consumers

Sara Idacavage

Source: Berg Encyclopedia of World Dress and Fashion. The United States and Canada 2010

Encyclopedia entry

Throughout the first half of the twentieth century, it was common practice for American dress manufacturers and designers to directly copy clothing styles designed by Parisian couturiers, or to adapt them slightly to better meet the tastes of female American consumers. Twice a year, retail buyers, independent designers, manufacturers, publicists, and journalists from the United States traveled to Paris to view the latest couture collections. As the French couture industry was not able to cater to

Paul Poiret's Minaret Style: Originality, Reproduction, and Art in Fashion

Nancy J. Troy

Source: Classic and Modern Writings on Fashion 2nd Edition 2009

Book chapter

During his visit to America, Mr. Poiret was much astonished to see advertised in various shop windows Poiret gowns which he himself had never seen before. Needless to say, Mr. Poiret quickly identified these gowns as never having emanated from his establishment and the labels which were sewed in them as nothing but counterfeits of his original label. He immediately placed the matter in the hands of his attorney, who started an investigation which revealed the fact that not only were Poiret labels

The Modern Fashion System in France

Yuniya Kawamura

Source: The Japanese Revolution in Paris Fashion. Dress, Body, Culture 2004

Book chapter

At the center of the French fashion system lies La Fédération Française de la Couture, du Prêt-à-porter des Couturiers et des Créateurs de Mode (the Federation), which is the oldest and, arguably, one of the most powerful fashion organizations in the world. A chronological history of the organization (Table 2.1) shows a significant link between institutional innovation and clothing innovation. The change and the stability of the organizational structure has affected and continues to affect the a

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