Caroline Reboux: Difference between revisions
New Article |
(No difference)
|
Revision as of 19:41, 24 August 2008
Caroline Reboux | |
|---|---|
| Born | 1837 Paris, France |
| Died | 1927 |
| Resting place | France |
| Nationality | French |
| Occupation | fashion designer |
| Known for | famous French milliner |
Caroline Reboux (1837 – 1927) was a well known Parisian milliner and French fashion designer.[1] She had white hair and a "girlish" look.[1] Reboux was the fourth child of an impoverished noblewoman and a man of letters. She was orphaned and came to Paris to live.[2]
Reboux made creations of exclusive high fashion hats which emerged in France in the nineteenth century.[1] She promoted women hat design as an essential accessory for women's fashion.[1] Her designs were elevated to the rank of works of art.[1]
Queen of the milliners
Reboux is an important name in millinery in the later part of the 1800’s and the early part of the 1900's in Europe and the United States.[1] At this time hat making had established itself right along with high fashion design.[1] Reboux was known as the queen of the milliners.[3] She employed as many as 150 workwomen at any one time.[3] She is also closely associated with haute couture and her hat designs ranked at the same level.[4]
Reboux opened a shop in Paris in 1865 where she worked throughout her life. From this shop she opened other stores in Paris and London. She assisted others that she trained to open shops in New York and Chicago. She was known for over 50 years as the queen of creative fashion hats.[4]
Reboux was the first person in the history of fashion to think of adding a veil to a woman’s hat and launched it in the 1920's.[5] She also started the vogue of color veils. Reboux made many fashionable hats for the theater. She is the creator of the cloche hat. [6] She also did innovative unique models such as hats of Marlborough toquets Vigée-Lebrun.
A notable business practice of Reboux was to divide one half the profits of her business amoung the head cashier, the forewoman, the directress of the workroom, and the head manager.[3] Reboux was appointed to represent Parisian commerce at the Paris World’s Fair exposition of 1900.[3] During Reboux's life she maintained a great friendship with the fashion designer Madeleine Vionnet. The Caroline Reboux business finally closed its doors in 1956. More than 300 creations by Reboux are preserved at the Musée de la Mode et du Textile in Paris, France.
Famous clients
Marlene Dietrich was a faithful customer of Reboux. The exhibition of Marlene Dietrich "Birth of a Myth" was held at the fashion museum Musée Galliera (Paris) in 2003 exhibing fashions of Reboux. There are today headdresses signed "Caroline Reboux" in the vitrines devoted to Marlene Dietrich at the Deutsche Kinemathek film museum of Berlin.
Reboux creations from the 1860’s attracted the attention of Princess Pauline de Metternich[7] and the empress Eugénie de Montijo.[8] The famous American milliner Lilly Dache trained under Reboux for 5 years.[6] Elsa Triolet was also a regular store customer on Avenue Matignon, sometimes accompanied by Louis Aragon. Wallis Warfield Simpson, Duchess of Windsor, wore an outfit in pancake Mainbocher and a hat by Reboux during her marriage to the former king of England, Edward VIII at the castle Candé, Monts, June 3, 1937.
Many designers of fashion were trained by Reboux. French actress Madeleine Sologne was an apprentice with Reboux for 16 years learning the skills of how to make fashionable women hats. Reboux also trained actress Lucienne Rebaté who began her career as a milliner in 1920.
References
Notes
- ^ a b c d e f g Adler, p. 403-4
- ^ Steele, p. 72
- ^ a b c d Shaw, Item notes: v.18 1898 Jul-Dec
- ^ a b Red Hat Society, p. 16
- ^ Contini, Mila, Odyssey Press (1965), Fashion, from Ancient Egypt to the Present Day, p. 254; Caroline Reboux was the first person in the history of fashion to think of adding a little veil to the hat, swathing the feminine face in a mist ....
- ^ a b Litoff, p. 69
- ^ Garland, p. 40
- ^ Palmer, p. 123
Bibliography
- Adler, Betty, ‘’ Within the Year After’’, M.A. Donohue & Co. (1920), Original from the University of Michigan
- Garland, Madge, ‘’ The Changing Form of Fashion’’, Dent (1970), Original from the University of Michigan
- Litoff, Judy Barrett et al, ‘’ European Immigrant Women in the United States: A Biographical Dictionary’’, Taylor & Francis (1994), ISBN 0-8240530-6-0
- Palmer, Alexandra, ‘’Fashion: A Canadian Perspective’’, University of Toronto Press (2004), ISBN 0-8020859-0-3
- Red Hat Society et al, Sterling Publishing Company, Inc. (2006), ISBN 1-5799099-4-9
- Shaw, Albert, ‘’ The American Monthly Review of Reviews’’, Review of Reviews (1898), Original from the University of Michigan
- Steele, Valerie, ‘’ Paris Fashion: A Cultural History ‘’, Berg (1998), ISBN 1-8597397-3-3