Dans L'Atelier
showstudio:

Chanel’s haute couture “tweeds” are created entirely from embroidery by Lesage. Here are samples. No two are exactly alike.

showstudio:

Chanel’s haute couture “tweeds” are created entirely from embroidery by Lesage. Here are samples. No two are exactly alike.

dior:

Conception of the Bodice meets Jacket theme in the Dior couture ateliers in Paris before the AW14-15 show. 

dior:

Conception of the Bodice meets Jacket theme in the Dior couture ateliers in Paris before the AW14-15 show. 

showstudio:

The interior of a Chanel couture jacket, 1965. The chain weights the hem. The vertical quilting bonds the tweed to the lining, giving the jacket body without traditional tailoring interfacing. The nubby surface of Chanel’s trademark boucle make the stitches invisible to the exterior.

showstudio:

The interior of a Chanel couture jacket, 1965. The chain weights the hem. The vertical quilting bonds the tweed to the lining, giving the jacket body without traditional tailoring interfacing. The nubby surface of Chanel’s trademark boucle make the stitches invisible to the exterior.

showstudio:

Christian Dior spring/summer 2014 - wool jumpsuit, with cutwork and floral sequin detailing. Embroidery by Atelier Montex.
Photographed by Ruth Hogben for The Independent Magazine, 5 July 2014

showstudio:

Christian Dior spring/summer 2014 - wool jumpsuit, with cutwork and floral sequin detailing. Embroidery by Atelier Montex.

Photographed by Ruth Hogben for The Independent Magazine, 5 July 2014

showstudio:

Christian Dior spring/summer 2014 - silk gauze dress with openwork, underlaid with sequins and beads. Embroidery by Atelier Vernoux
Photographed by Ruth Hogben for The Independent Magazine, 5 July 2014

showstudio:

Christian Dior spring/summer 2014 - silk gauze dress with openwork, underlaid with sequins and beads. Embroidery by Atelier Vernoux

Photographed by Ruth Hogben for The Independent Magazine, 5 July 2014

showstudio:

The toile of a Balenciaga jacket, from 1947. Note the pad-stitching to stiffen the basque and the bombast to create an hourglass silhouette

showstudio:

The toile of a Balenciaga jacket, from 1947. Note the pad-stitching to stiffen the basque and the bombast to create an hourglass silhouette

showstudio:

The boned interior of a Nina Ricci haute couture bustier, circa 1958. Gold lace lined in mushroom silk georgette.

showstudio:

The boned interior of a Nina Ricci haute couture bustier, circa 1958. Gold lace lined in mushroom silk georgette.

showstudio:

One of the lace labels sewn into Gaultier’s haute couture pieces

showstudio:

One of the lace labels sewn into Gaultier’s haute couture pieces

showstudio:

The toile of a spring/summer 2012 Chanel jacket.

showstudio:

The toile of a spring/summer 2012 Chanel jacket.

showstudio:

John Galliano’s “Work in Progress” haute couture for the winter 2005 Dior collection, celebrating the centenary of Dior’s birth and the work of the Dior ateliers

showstudio:

John Galliano’s “Work in Progress” haute couture for the winter 2005 Dior collection, celebrating the centenary of Dior’s birth and the work of the Dior ateliers