Biography
"Walking costume." The Berg Fashion Library
In l'Ile Saint-Denis, just outside Paris, in 1869, Jeanne Marie Charlotte Beckers was born (Reeder). Known to the fashion world as Jeanne Paquin, she got her start in a local dress shop as a young teen then became a seamstress at the prestigious Maison Rouff and quickly worked her way up to Premiere in charge of atelier (Polan, Tredre 17). By age 22, she was married to successful businessman Isidore Rene Jacob dit Paquin, and had started their own couture house, the House of Paquin on 3 rue de la Paix in Paris (Reeder). They became a power couple and built their brand as an international enterprise (Polan, Tredre 17). As author Jan Glier Reeder of A-Z of Fashion states, “Their innovative approaches to marketing and youthful yet sumptuous design aesthetic attracted fashionable women of the world who were poised for a new fashion image at the end of the Victorian era.” They were a team in their opposite talents; Isidore ran the business side and had a way with clients, while Madame Paquin was the face of the Paquin House as well as the head designer. She was wonderful at marketing her own brand, especially by always wearing her own designs and was considered “tall and beautiful,” a perfect silhouette for the times (Watson 326). Paquin did not just have the design talent and great figure; she was also a determined, articulate and confident woman, “A mother of pearl woman. She has the will of a man and is a genius in business organization (Watson 326).”
Five years after opening the House of Paquin in Paris, they expanded and opened a store in London. Though it was considered to be a bold business decision at the time, it became a success and an influence and workplace for designers like Madame Vionnet (Polan, Tredre 18). Following the opening of their London store, were stores in Buenos Aires and Madrid, as well as Paquin-Joire in New York City (Polan, Tredre 18). In 1900, Jeanne Paquin was appointed the Organizer of the fashion section of the Universal Exposition, creating jealousy from her fellow couturiers (Polan, Tredre 18). Despite incredible career success in the early part of the 20th century, she suffered great personal trauma with the death of her husband who was only 45. A widow at 38, Paquin began to wear a new color scheme, black and white, predating Chanel (Polan, Tredre 18). She partnered with her half-brother Henri Joire and his wife Suzanne, especially with the store in New York (Reeder). Paquin retired in 1920 and in 1931 remarried Jean-Baptiste Noulens, a French diplomat (Reeder). Though she died 5 years later, the House of Paquin continued for 20 years with the help of her family and up in coming designers like Pierre Cardin. In 1954, it merged with the House of Worth, two years before it closed for good.
Five years after opening the House of Paquin in Paris, they expanded and opened a store in London. Though it was considered to be a bold business decision at the time, it became a success and an influence and workplace for designers like Madame Vionnet (Polan, Tredre 18). Following the opening of their London store, were stores in Buenos Aires and Madrid, as well as Paquin-Joire in New York City (Polan, Tredre 18). In 1900, Jeanne Paquin was appointed the Organizer of the fashion section of the Universal Exposition, creating jealousy from her fellow couturiers (Polan, Tredre 18). Despite incredible career success in the early part of the 20th century, she suffered great personal trauma with the death of her husband who was only 45. A widow at 38, Paquin began to wear a new color scheme, black and white, predating Chanel (Polan, Tredre 18). She partnered with her half-brother Henri Joire and his wife Suzanne, especially with the store in New York (Reeder). Paquin retired in 1920 and in 1931 remarried Jean-Baptiste Noulens, a French diplomat (Reeder). Though she died 5 years later, the House of Paquin continued for 20 years with the help of her family and up in coming designers like Pierre Cardin. In 1954, it merged with the House of Worth, two years before it closed for good.
Critical Analyses
Jeanne Paquin was a pioneer in the industry; considered the “Queen of Haute Couture” She was the first woman dressmaker to be awarded the Legion d’Honneur (Polan, Tredre 17). Despite her many achievements and innovations to fashion in the early 20th century, Paquin is consistently overshadowed by the great male designers of the time, Frederick Charles Worth and Paul Poiret (Polan, Tredre 17). Some historians speculate this is because she was a woman, while others like historian, Valerie Steele believe it was her “tendency towards moderation” that caused her to be overlooked (Polan, Tredre 17). She made clothing that appealed to a larger group of customers, getting the attention of the New York Times in 1913, “She maintains the attitude of an artist but we know she is the most commercial artist alive (Polan, Tredre 19).”
Though she may have been considered moderate, she updated styles for practical reasons and made high fashion functional for the more common customer, believed historian Diana de Marly. Poiret’s Hobble Skirt was controversial, whereas Paquin’s rendition had hidden pleats, giving it more ease of movement (Polan, Tredre 17). She differed from other designers because she was inspired by, “women in the street,” as she says (Polan, Tredre 17). She wanted to design for more types of customers and respond to what her customers wanted rather than just dictate trends and stubbornly push exotic styles. Though she was not as wild as Poiret, she did have her own flare. She enjoyed the use of color in her designs; combining contrasting colors and fabrics to create designs that went from ordinary to extraordinary with combinations that set her apart from other designers. She excelled in combining silk or chiffon with fur on her evening gowns (Polan, Tredre 17).
With innovative business practices that are more common today than they were at the time, the Paquin House set an example in the fashion industry. The prices were also more reasonable than her competitors, expanding her customer base even further. At its height they employed around 2700 people in their four locations, which is larger than even the House of Worth at the time. Not just known for its size, the Paquin House was known for its attitude towards the people they hired. Unlike their fellow couturiers, they sympathized with employees threatening to go on strike in the fashion industry in 1917. They also purchased a villa where their employees could relax (Polan, Tredre 17). They were not just open-minded with their employees but also their customers. They did not limit who could shop there in the way many other couture houses did. “From the first this clever and ornamental young couple followed a new system. No haughty seclusion, no barred doors, at the Maison Paquin (Polan, Tredre 18).”
Paquin was able to make a major impact at the time due to her husband as well as her own success. She was known to have been worth 4 million francs and was considered in the top rank of the Grandes Maisons’ (Watson 326). “Paquin's contributions in the areas of business, public persona, art, and design, firmly establish her place in fashion history as the first great woman couturier (Reeder).” This was a major accomplishment for the time, considering she was a women. It may be more common for women to run companies today but in Paquin's time she a was a pioneer and a reflection of the strength women had begun to recognize in themselves during this period.
Though she may have been considered moderate, she updated styles for practical reasons and made high fashion functional for the more common customer, believed historian Diana de Marly. Poiret’s Hobble Skirt was controversial, whereas Paquin’s rendition had hidden pleats, giving it more ease of movement (Polan, Tredre 17). She differed from other designers because she was inspired by, “women in the street,” as she says (Polan, Tredre 17). She wanted to design for more types of customers and respond to what her customers wanted rather than just dictate trends and stubbornly push exotic styles. Though she was not as wild as Poiret, she did have her own flare. She enjoyed the use of color in her designs; combining contrasting colors and fabrics to create designs that went from ordinary to extraordinary with combinations that set her apart from other designers. She excelled in combining silk or chiffon with fur on her evening gowns (Polan, Tredre 17).
With innovative business practices that are more common today than they were at the time, the Paquin House set an example in the fashion industry. The prices were also more reasonable than her competitors, expanding her customer base even further. At its height they employed around 2700 people in their four locations, which is larger than even the House of Worth at the time. Not just known for its size, the Paquin House was known for its attitude towards the people they hired. Unlike their fellow couturiers, they sympathized with employees threatening to go on strike in the fashion industry in 1917. They also purchased a villa where their employees could relax (Polan, Tredre 17). They were not just open-minded with their employees but also their customers. They did not limit who could shop there in the way many other couture houses did. “From the first this clever and ornamental young couple followed a new system. No haughty seclusion, no barred doors, at the Maison Paquin (Polan, Tredre 18).”
Paquin was able to make a major impact at the time due to her husband as well as her own success. She was known to have been worth 4 million francs and was considered in the top rank of the Grandes Maisons’ (Watson 326). “Paquin's contributions in the areas of business, public persona, art, and design, firmly establish her place in fashion history as the first great woman couturier (Reeder).” This was a major accomplishment for the time, considering she was a women. It may be more common for women to run companies today but in Paquin's time she a was a pioneer and a reflection of the strength women had begun to recognize in themselves during this period.
Analyses of Future Trends
Fashion: Vogue 2000
Jeanne Paquin was the first Woman to become an icon in fashion, establishing the precedent for Chanel and many other designers to follow (Reeder). She created fairytale-like designs that captivated customers who wanted the same glamorous image her brand portrayed. She was unique in her use of contrasting fabrics like chiffon and fur, as well as her contrasting colors like pink and black. She created her signature pink/red color and was known for her love of colors and bold use of fur. A designer very well known for this today is Alexander McQueen. When looking at his most recent fall collections, f/w 2011, f/w 2012 as well as his 2006 collections, it is hard not to notice the similarities between their use of fabric, color and empire silhouette.
She was also skilled in creating a design that consisted of two different tailoring styles. Her day to evening dresses, for example, combined suit tailoring with soft draping creating a look that was versatile (Polan, Tredre 18). Health and Home Magazine, October 1912, “Simple yet smart gowns, which are the very thing for golfing or motoring and yet will not disgrace their wearer should she elect to lunch at a fashionable restaurant in the meantime (Polan, Tredre 17).” Her styles for the more active woman predated Chanel’s, making her a pioneer in fit and ease of movement before anyone else. Paquin stated, “Fashion should never be allowed to triumph over function” (Polan, Tredre 19), though what was considered functional in the 1900’s is not at all what we consider functional today.
Paquin’s strong will and perseverance are what have also set the precedent for other designers. The fashion world is full of copiers but Paquin worked very hard to protect her designs, even winning legal battles including one against Beer couture house where she was awarded 8,000 francs in damages (Polan, Tredre 19). She had a full fashion house which included everything from couture and fur to accessories and lingerie. Her house set the precedent for lifestyle brands including Lanvin in 1915 (Polan, Tredre 18).
She inspired many designers including, Designer Maggie Rouff who said, “I can still hear the crystal voice of Madame Paquin saying that fashion must constantly renew itself, without weakness or fear, even with audacity (Polan, Tredre 18).” Paquin is still inspiring major designers and average women alike. Despite being retired for nearly a century, Paquin has a modern following online. Her Pinterest Page by Karen Melby LaVelle (http://pinterest.com/hartsannie/the-fashion-house-of-paquin/), is full of designs that sill intrigue fashionista’s. Even model, Tatiana Sorokko, says her most prized possession that she wore on her birthday was a 1932 Paquin black dress. Paquin’s legacy will be remembered for many years to come, as her contributions to the fashion world were unparalleled for her time.
She was also skilled in creating a design that consisted of two different tailoring styles. Her day to evening dresses, for example, combined suit tailoring with soft draping creating a look that was versatile (Polan, Tredre 18). Health and Home Magazine, October 1912, “Simple yet smart gowns, which are the very thing for golfing or motoring and yet will not disgrace their wearer should she elect to lunch at a fashionable restaurant in the meantime (Polan, Tredre 17).” Her styles for the more active woman predated Chanel’s, making her a pioneer in fit and ease of movement before anyone else. Paquin stated, “Fashion should never be allowed to triumph over function” (Polan, Tredre 19), though what was considered functional in the 1900’s is not at all what we consider functional today.
Paquin’s strong will and perseverance are what have also set the precedent for other designers. The fashion world is full of copiers but Paquin worked very hard to protect her designs, even winning legal battles including one against Beer couture house where she was awarded 8,000 francs in damages (Polan, Tredre 19). She had a full fashion house which included everything from couture and fur to accessories and lingerie. Her house set the precedent for lifestyle brands including Lanvin in 1915 (Polan, Tredre 18).
She inspired many designers including, Designer Maggie Rouff who said, “I can still hear the crystal voice of Madame Paquin saying that fashion must constantly renew itself, without weakness or fear, even with audacity (Polan, Tredre 18).” Paquin is still inspiring major designers and average women alike. Despite being retired for nearly a century, Paquin has a modern following online. Her Pinterest Page by Karen Melby LaVelle (http://pinterest.com/hartsannie/the-fashion-house-of-paquin/), is full of designs that sill intrigue fashionista’s. Even model, Tatiana Sorokko, says her most prized possession that she wore on her birthday was a 1932 Paquin black dress. Paquin’s legacy will be remembered for many years to come, as her contributions to the fashion world were unparalleled for her time.