Deconstructing the Sphinx of Fashion Essay

Clad in drapes and flowing fabric, with enough chutzpah to sport a turban that had become her signature, Madame Gres had always been an icon of fashion and art. With a stellar list of clients and muses, from noble royals such as Princess Grace of Monaco, Princess Matilda of Greece, the Duchess of Windsor and the Duchess of Deterling, among others; to film celebrities and then-socialites Marlene Dietrich, Jacqueline Kennedy-Onassis, Barbra Streisand, and Greta Garbo. Such was her presence and inimitable style that many would say, unwittingly, that she was more Garbo than Garbo herself (www. parfumsgres. com). Full of passion and fashion, and shrouded with mystery. Even her birth was mysterious. Many documented sources indicate that she was born to a bourgeois family, a fact that was only established after many years. Her birth on November 30, 1903 gave her the name Germaine Emilie Krebs, hardly one suitable for a would-be legendary fashion designer. To keep historical accounts of her personal life consistently vague, not much is known about her early years—until she eventually launched her fashion career sometime after the Wall Street plunge in 1930, an unfortunate time to do so as the market was no longer viable for luxury products. Some reports have it that she started as a sculptor, but was never quite successful at it—making her decide to change career paths (Mendoza). It is also said that she soon opened a couture house under the name Alix, yet others have mentioned that she was only but an employee of a small-time couturier named Julie Barton. However, that time was adjudged to be the best for a woman to be working in fashion, since the most well-known names—Lanvin, Vionnet and Chanel—made themselves known during the period (www. telegraph. co. uk). She later married the Russian painter Serge Czerefkov, and used the anagram of his name as hers, exactly the way he would sign his artwork. But the marriage laster only for a year or less, for Czerefkov traveled all the way from France to Polynesia, and never returned. Alix Gres, as Germaine Emilie Krebs then called herself, forged on and indulged herself in the one passion that would etch her name in history—fabrics and fashion. Taking inspiration from one of her design models, Madeleine Vionnet (Chang, 2005), the Grecian silhouette was what art and fashion historians would attach to the Gres name. Madame Gres viewed the clothes she created as works of art, and fashioned a manner of construction and style that is uniquely hers—draping. This technique, as opposed to tailoring, entailed sculpting yards of fabric directly onto the bodies of her models. producing her acclaimed signature, the flowing jersey dress. Gres’ distinct style emulated the classic Hellenic dress, which called for what is known as wet-drapery—the manner of fabric contortion through animated folds, that ultimately reveals the shape and contour of the human body (Koda, 200-). Clearly, it is Gres’ background in sculpture that influenced her choice of couture, that also brought her to use other like fabrics such as chiffon and crepe. Her lines were always simple and clean, yet completely feminine and elegant. Drama was her goal, and unlike most designers in the 1940s and 50s, Madame Gres never relied on structure and stiff support to create her silhouettes, no matter how much complexity and angular shapes were in fashion at the time. She also used heavy fabric and paper taffeta to achieve her signature flowing designs, which achieved more impact than expected, considering its basic construction. The dresses and gowns of Madame Gres were always lauded for their almost-opposing characteristics of being timeless and modern at the same time, yet in truth, they were innovative and evolved constantly. During the 1940s, in the aftermath of World War II, many restrictions were put in place and Madame Gres’ classic Grecian fashions could no longer be produced as often and as much as she used to. Because of this, she focused on perfecting another technique called fluting, which is a detailed, highly-concentrated version of the regular pleating. thus, when fabric became widely available once more, Madame Gres easily incorporated this new standard of workmanship into her classic Greek-inspired creations. In 1958, Madame Gres went on a journey to India, where she discovered another significant influence on her art. It was here that she took a liking for the country’s native saris and caftans, which she rightly surmised would perfectly blend with her already-established smooth, flowing style. Fashion journals all over the world showcased Gres’ new collections that included pajama pants, which she wisely combined with the trends at the time—even with miniskirts and the ubiquitous hot pant (The Museum at Fit). It was also during this trip that Madame Gres took inspiration for a perfume line she named Cabochard, quite apt for the launch of her new company called Parfums Gres, The 1970s and 80s proved to be Madame Gres’ most memorable years, for at this time she was offered numerous titles and recognition. In 1974, she became President of La Chambre Syndicale de la Couture Parisienne, as well as recipient of the De d’Or de la Haute Couture. Later, in 1980, Madame Gres was named â€Å"The most elegant woman in the world†, and, for her unmatched contribution to French culture, she was given the honor of being a â€Å"Chevalier de la Legion d’Honneur†. Also, while she constantly refused to delve into pret-a-porter, it was during the same year that she launched Gres Boutique—her first collection. Her colleagues also agreed with all the accolades given her, particularly her sense of design and classic style. The popular designer Bill Blass was asked for his opinion, on the statement that fashion is an art. He said no, it is a craft, unless it is done by Balenciaga or Madame Gres. For further validation of the woman’s talents, 1988’s Vogue History of 20th Century Fashion named her â€Å"the greatest living couturier† (www. parfumsgres. com). But not everything in Madame Gres’ life was as pristine and flowing as the dresses she designed, or the celebrated couture house that was at par with the world’s best (Cocks, 1986). Like many successful celebrities, she had her own share of negative publicity and vicious tales. Stories have been told about her indifference to the past and the accomplishments she made, even as she would travel the world just t open numerous boutiques to her name. While the legendary Vogue editor, Diana Vreeland, would comment that Madame Gres had the best address in Paris (Trow, 1980), Gres was also compared to Carmel Snow, longtime editor of Harper’s Bazaar, on their both being self-centered and uninterested in nothing but themselves (Horyn, 2005). But what was most disturbing and mysterious about Madame Gres’ life is her death in 1993. For over a year, her only daughter Ann kept the fact hidden from fashion journalists and her mother’s colleagues. Ann would even respond to queries sent about Madame Gres, indicating her mother’s appreciation of the gestures, as evidenced by the time when Yves Saint Laurent gave due praise to the Gres prospective of the Metropolitan Museum of Art. Ann sent back a note detailing how Madame Gres was greatly touched and appreciative, even including a personal account of her mother’s humble beginnings, told in an uncomfortably personal tone. In truth, Madame Gres was already whiling away her remaining days at a nursing home in the South of France. She was believed to have been either 89 or 94 years old. The fashion society in Paris were all baffled by this turn of events, which they were completely uninformed about. She continued to hold the position of honorary president of the Chambre Syndicale, because no one knew of her her demise. Apparently, correspondence was sent regularly to Ann Gres, which she refused to answer. Ann Gres was adamant about keeping her mother’s death a secret. She believed that was how Madame Gres would have wanted things to be—mysterious and secretive. She disclosed, though, that their family was in dire need of funds and other resources, that she had not been able to even afford a decent tombstone befitting her legendary mother. Ann also lambasted her mother’s so-called friends, whom she declared to have never even inquired about Madame Gres’ condition. Sadly, this was how things turned out for the once-prosperous fashion icon. Her business, with debts and failures mounting, was sold to Bernard Tapie, an American businessman. After two years, the French group Estorel took over the company, only to go bankrupt in 1987. Eventually, a Japanese investment group called Yagi bought the Madame Gres name for $2 million in 1988, but the contract did not include royalty payments for the designer. (Deeney, 1994). The same fate happened to her perfume company, which was acquired by Lamotte Taurelle, a distribution company, that later sold it to a finance company subsdiary. The licenses were soon purchased by The Escada Group, which in turn sold in 2001 to Silvio Denz (www. parfumsgres. com). To this day, much of Madame Gres’ influences live on, and her existing pieces are now proverbial treasures. Auctions of her creations command the highest prices, as they are true showcases of a woman’s lifelong passion for the art of fashion. Draping is a skill many of today’s young designers try to emulate, an example of which is a noted finalist in Season Four of Project Runway, a hugely popular American reality show documenting the challenges of over a dozen young designers. Rami Kashou, who won second place, is known for his talent in draping—which may probably tell of his knowledge of Madame Gres’ legacy. It is just, however, completely mind-boggling how many accounts and stories lead to the conclusion that Madame Gres and her incredible talent would be the source of envy of her only child. Though, as they say, Ann Gres despised her mother for that known fact, But it is correct to say that Madame Gres has carved her name and design philosophy into the annals of global fashion. And just like her ethereal creations that had been consistently singular and distinct, the life of Madame Alix Gres, or Germaine Emilie Krebs, will always be mysterious and legendary. Works Cited Cocks, Jay. â€Å"An Elegant Legacy Comes Alive†. Time Magazine, February 3, 1986. Trow, George W. S. The Talk of the Town. â€Å"Work†. The New Yorker, September 29, 1980. Horyn, Cathy. â€Å"Before There Was Vreeland†. The New York Times, December 4, 2005. Deeney, Godfrey. â€Å"The Strange, Secret Death of Madame Gres†. Women’s Wear Daily, December 14, 1994. Koda, Harold. â€Å"Classical Art and Modern Dress†. Timeline of Art History. New York: Metropolitan Museum of Art, 200-. The Costume Institute. â€Å"Costume in the Metropolitan Museum of Art†. Timeline of Art History. New York: Metropolitan Museum of Art, 200-. Alix Gres: An Exceptional Couturier. http://www. telegraph. co. uk/fashion/main. jhtml? xml=/fashion/2008/02/17/st_ madamegres. xml Biography. http://www. parfumsgres. com/biography. html Chang, Lia. Cut and Construction: The Foundations of Fashion, 2005. http://www. asianconnections. com/a/? article_id=594 Mendoza, Sandra. Alix Gres (1903-1993). http://www. vintagefashionguild. org/content/view/664/111/ The Museum at Fit. The Life and Career of Madame Gres. http://www3. fitnyc. edu/museum/gres/lifeandcareer. htm