Elegance: How Worth Shaped Paris Fashion

In honor of Paris Fashion Week’s end, it felt apt to review the Petit Palais’ exhibit Worth, Inventing Haute Couture. A celebration of culture and heritage, the house of Worth was responsible for spearheading the traditions and codes of haute couture, now continued by other legacy brands. With magnificent archival gowns on display, the retrospective brought the drama. Showcasing showstopping pieces alongside rich historical insight, the exhibit introduced the magnificent world of the Worth to its visitors.

Before the Yves Saint Laurents, Christian Diors, or Elsa Schiaparellis, an ambitious dressmaker revolutionized fashion’s image and imagination. Ambitious to make a name for himself in Paris, Charles Frederick Worth opened his enterprise in 1846 and quickly became a popular dressmaker for the elite. Originally from England, he founded his house in Paris and from that point established an enduring legacy in the city and beyond. He became the go-to couturist for costume balls, embellished daily wear, and court receptions.

Decades before designer-branded sweatpants and monogrammed bags, Worth introduced many practices that are considered part of the industry’s cycle today. One notable example the exhibit touches upon is the mythos around the name Worth, which stemmed from labeling their dresses with the European house’s name and the collection season. Part signature, part practical choice, the Worth label became a substantial way to track which collection a garment was a part of and also worked as a way to signify authenticity against copies that were being produced in America for cheaper. Therefore, Worth’s status as a brand was physically cemented through limited and labeled supply, driving demand for its newest, authentic pieces every season.

But the brand never rested on the laurels of its name. Worth was delivered in both branding and product. Utilizing the haute couture practice of savoir-faire, he customized additional trims and accents for his clientele. Each piece was crafted with immense attention to detail and honored the individual who commissioned it. While his creations seemed like they would take months to create, Worth’s house also gathered a reputation for producing dresses in quick turnaround. Imbued with a sense of romanticizing each day to the fullest through the garment’s color, form, cut, and fabric, the pieces became known for their imaginative motifs and elaborate shapes. From a design standpoint, the creations felt like they were straight from a fairytale. Despite its international success, the Worth company functioned as a grounded family company. Displayed in a linear progression, the exhibit’s vitrines demonstrated the progression in design over generations. As the reins were passed on from son to son, styles developed throughout time.

The exhibit transitions into the so-called Gilded Age, an era where his sons Jean-Philippe and Gaston Worth continued to operate the company, this time adapting to turn-of-the-century grandeur and tiny waistlines. As the newly rich industrial class became patrons of Worth, the demand for societal wardrobes that demanded several changes a day rose to all-time highs. More importantly, when it came to budget, the sky was the limit. The influx of wealth and spending is showcased in the display, reminiscent of the wardrobes showcased in The Gilded Age on HBO or Downton Abbey. From fur coats to tailored sporting outfits to costume ballgowns inspired by medieval paintings, each outfit was designed keeping in mind specific multi-activity events.

In the Art Deco era, Gaston’s sons Jean-Charles and Jacques adapted to graphic straight silhouettes and drop-waist cuts, bringing the house into the post–World War One era and Roaring Twenties. Like their predecessors, Jean-Charles and Jacques were heavily influenced by cultural changes and the artistic movements. While an early Worth gown may have been inspired by Byzantine princesses (the Zenobia costume for the Duchess of Chatsworth) or Old Master paintings, dresses made during the late Worth era were inspired by flappers and Art Deco architecture. This period also saw the company expand into fragrances, including the perfume Dans la Nuit, with bottles later designed by Lalique.

While every room feels equally impressive, the standout gallery is no doubt the one dedicated to epic gowns worn by the likes of American heiresses and European royalty. Before influencers, royal patrons like Empress Eugénie and Princess Metternich led the pack in bringing the social elite to Worth. Many of the transatlantic supporters hailed from New York, Boston, and Philadelphia. With massively long trains and exquisite embroidery, the carefully preserved dresses represented the cream of the crop. Rich fabrics, shimmering tones, intricate stitching were brought to life in the majestic display.

Accompanying the gowns of each era, the accessories presented were a great highlight. From Cartier diamond chokers, opera gloves, and mink scarves to glass perfume bottles, flapper headpieces, and draping long pearls, the curation showcased the way in which styling accompaniments reflected changing times. Since the exhibit was also made possible by the support of Louis Vuitton, a contemporary parallel to the House of Worth in brand and influence, the exhibit also made note of both of the houses’ historical relations to each other. Louis Vuitton trunks were the go-to luggage accompaniment for carrying these immensely large wardrobes across European cities and the Atlantic. Another significant partner was Cartier, as showcased in a portrait of the wife of Prince Mohamed Aga Khan III, Andrée Joséphine Carron, dressed in Worth and Cartier jewels.

Beyond shining a light on the elite clientele who wore the garments, the exhibit also highlighted the people responsible for creating them. The curators emphasized the inner workings of the company, where more than 1,000 people were employed at its height. Photographs portray the Worth headquarters located at 7 rue de la Paix and those who worked in all areas of the multi-floored building, from the atelier to the studio kitchen. The company closed in 1956, but the impact and efforts of the company’s workers are still felt today.

The exhibition was made possible thanks to Chanel and the team behind the intense and expensive restoration process. Curators Sophie Grossiord, Marine Kisiel, and Raphaële Martin-Pigalle emphasized the difficulty in procuring these heavily restored dresses at one time. Requiring difficult loan negotiations and coordination with institutions like the Costume Institute at the Metropolitan Museum of Art and the Palazzo Pitti, the exhibit was a rare achievement. Truly a sight to behold, it reminded visitors of the great scientific teams and historical efforts behind couture and its preservation.