Fashion in literature: When Proust is your advertisement
Photographs by Pari Dukovic
A number of years ago, a young painting conservator entered a forgotten storeroom in a fifteenth-century Florentine villa and stumbled on a pile of Louis Vuitton steamer trunks. She opened them and discovered a collection of exquisite dresses, the kind usually seen only in movies, or inside protective vitrines in museums. Closer inspection revealed silk labels, hand-woven with the name “Callot Soeurs.”
In the second volume of “Remembrance of Things Past,” the Narrator asks his beloved, Albertine, “Is there a vast difference between a Callot dress and one from any ordinary shop?” Her response: “Why, an enormous difference, my little man!”
A “Callot dress” is one that was made by the Paris haute-couture house Callot Soeurs—Callot Sisters. The sisters are not much remembered now: there has been no monograph on their work, and no retrospective. Yet, not long after Callot Soeurs opened their atelier, in 1895, they became one of the great names in Belle Époque fashion. Madeleine Vionnet, one of the most influential and radical designers of the twentieth century, was the sisters’ head seamstress. She ranked them higher than the self-proclaimed King of Fashion, Paul Poiret. “Without the example of the Callot Soeurs,” Vionnet said, “I would have continued to make Fords. It is because of them that I have been able to make Rolls-Royces.”
Read 21 Dresses in the New Yorker.
The exact quote from Proust:
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March 31st, 2015 at 10:40
Fabuloush!!