In the first critical history of French ready-made fashion, Alexis Romano examines an array of cultural sources, including surviving garments, fashion magazines, film, photography and interviews, to weave together previously disparate historical narratives. The resulting volume – Prêt-à-Porter: Paris and Women – situates the ready-made in wider cultural discourses of art, design, urbanism, technology and international policy. Through a close study of fashion magazines, including Vogue and Elle, Romano reveals how the French ready-made and the genre of fashion photography in France developed in tandem. Analyses of representations of space, women and prêt-à-porter in such magazines – alongside other cultural ephemera such as contemporary film, documentary photography and family photographs – demonstrate that popular conceptions of fashion and modernity shifted in the period 1945-68. By connecting national and personal histories, Prêt-à-Porter: Paris and Women reveals the importance of the ready-made to broader narratives of postwar reconstruction, national identity, gender and international dialogue.

An extraordinary look at how the style of Piet Mondrian’s abstract paintings was posthumously appropriated by 1960s fashion, Pop art, and consumer culture. Yves Saint Laurent’s 1965 Mondrian dresses are among the twentieth century’s most celebrated and recognizable fashions, but the context of their creation involves much more than meets the eye. In Mondrian’s Dress, Nancy J. Troy and Ann Marguerite Tartsinis offer a fresh approach to the coupling of Piet Mondrian’s interwar paintings with Saint Laurent’s couture designs by exposing the rampant merchandising and commodification that these works experienced in the 1960s. The authors situate the consolidation of Saint Laurent’s fashion brand alongside the work of such Pop artists as Roy Lichtenstein, Andy Warhol, and Tom Wesselmann, and show how conventional understandings of Mondrian’s avant-garde abstractions were transformed by the mass circulation of his signature style. Beyond its attention to 1960s fashion, Pop art, and consumer culture, Mondrian’s Dress offers critical assessments of Saint Laurent’s so-called dialogue with art, the remarkable art collection that he built with his partner Pierre Berge, and the crucial role that photography plays in the marketing of couture. The first book-length study of its kind, Mondrian’s Dress is a provocative reevaluation of how art, commerce, and fashion became fundamentally intertwined in the postwar period.

An innovative history of the fashion industry, focusing on the connections between Paris and New York, art and finance, and design and manufacturing. Fashion is one of the most dynamic industries in the world, with an annual retail value of $3 trillion and globally recognized icons like Coco Chanel, Christian Dior, and Yves Saint Laurent. How did this industry generate such economic and symbolic capital? Focusing on the roles of entrepreneurs, designers, and institutions in fashion’s two most important twentieth-century centers, Paris to New York tells the history of the industry as a negotiation between art and commerce. In the late nineteenth century, Paris-based firms set the tone for a global fashion culture nurtured by artistic visionaries. In the burgeoning New York industry, however, the focus was on mass production. American buyers, trend scouts, and designers crossed the Atlantic to attend couture openings, where they were inspired by, and often accused of counterfeiting, designs made in Paris. For their part, Paris couturiers traveled to New York to understand what American consumers wanted and to make deals with local manufacturers for whom they designed exclusive garments and accessories. The cooperation and competition between the two continents transformed the fashion industry in the early and mid-twentieth century, producing a hybrid of art and commodity. Véronique Pouillard shows how the Paris–New York connection gave way in the 1960s to a network of widely distributed design and manufacturing centers. Since then, fashion has diversified. Tastes are no longer set by elites alone, but come from the street and from countercultures, and the business of fashion has transformed into a global enterprise.

An exploration of fashion designer Gaby Aghion's life, career, and legacy at the French fashion house Chloé As imagined by the company's founder, Gaby Aghion (1921-2014), the sophisticated, romantic, and glamorous designs of Chloé have captured the energy and aspirations of generations of women since Aghion designed her first collection in 1952. This sumptuously illustrated book centers Chloé and Aghion within the cultural arena and crystallizes a major transition in the postwar Parisian fashion industry, from haute couture to prêt-à-porter. Aghion defined Chloé as a brand of luxury ready-to-wear clothing combining high-end materials and savoir faire with light shapes for active women. Aghion, an Egyptian Jew in Paris, brought a fresh, outsider perspective to French fashion. Seventy years of archival clothing from Chloé designers are reproduced here, many for the first time, along with sketches, advertisements, and photographs. Essays shed light on Aghion's life, the company's approach to fashion, and the ways in which it fostered young talents. The book celebrates Aghion's daring entrepreneurship and her legacy through the acclaimed designers who embodied and reinterpreted her original inspiration. Paulo Melim Andersson, Gabriela Hearst, Clare Waight Keller, Karl Lagerfeld, Hanna MacGibbon, Stella McCartney, Peter O'Brien, Phoebe Philo, Natacha Ramsay-Levi, and Martine Sitbon offer recollections of their experiences working at the fashion house. Published in association with the Jewish Museum, New York Exhibition Schedule: Jewish Museum, New York (October 13, 2023-February 18, 2024)

"The sustainable fashion revolution has begun, and we must all be part of it." - Aloïs Guinut Stylish women everywhere are realizing the environmental damage of fast fashion and looking for new ways to dress that don't involve cramming their wardrobe with clothes that may never get worn. As Paris-based style-coach Aloïs Guinut explores in this invaluable book, French women have a lot to teach us about how to cherish the planet without sacrificing your style: - Know what works for you. - Buy less and buy better. - Mix vintage items with a few wisely chosen modern pieces. - Optimize your closet. - Look after what you have and make it last. - Seek out quality fabrics that don't poison the environment.

Paris is renowned as the greatest fashion capital in the world. It has a rigid and tightly controlled system that non-western designers have difficulty penetrating. Yet a number of the most influential Japanese designers have broken into this scene and made a major impact. How? Kawamura shows how French fashion has been both disturbed and strengthened by the addition of "outside" forces such as Kenzo Takada, Issey Miyake, Yohji Yamamoto, Rei Kawakubo, and Hanae Mori. She considers many other key questions the fashion industry should be asking itself. Does the system facilitate or inhibit creativity? Has it become preoccupied with the commercial projection of "product images" rather than with the clothing itself? And what direction will French fashion take without Saint Laurent, Miyake and Kenzo? This is the first in-depth study of the Japanese revolution in Paris fashion and raises provocative questions for the future of the industry.

Organized according to the product development and marketing process accepted in the fashion industry, the new edition of this introductory text follows products from design concept through to consumer purchase. This complete coverage includes a complete description of global influences on the entire fashion industry.