After choosing the predictable, but organized section number 1, The Couture Laboratory I was curious what I would dive into. And mostly, why would Frances Corner choose to start her book with couture? Was it because of her first encounter with a fashion lesson when becoming Head of London College of Fashion? Anyways, she defines the style, then proceeds to strictly lay the permanent rules and qualifications for a collection/design-house worthy of the couture title. I had no awareness of such rigidity with couture. Yet, it does explain the evolution of fashion yet remaining in a single place, Paris. With the intention of keeping Paris the fashion capitol, the Chambre Syndicale de la Haute Couture has firmly succeeded. However, due to the restrictiveness, it poses the fear of a lack of fresh couture designers to arrive onto the Parisian landscape.
Corner also gives the couture field much appreciation, after recognizing its elitist, custom-designed background. She states, “…I admire it as a system that has preserved and protected a vast range of skills and crafts, such as fine embroidery, beadwork, and the decorative use of feathers or precious stones.” Instantly, it made me reflect and resonate with her gratitude. Flouncing in miles of tulle and floral beading I cherished my favorite designers, Giambattista Valli and Ellie Saab. Oh how I felt innocent and romanticized by the detail and craftsmanship they create for their luxurious fashion. Though they both remain on the younger side of the haute couture competition, they’ve made strides of highlighting delectable beauty. If I was Corner at that first couture show, I’m not sure if I could contain myself. My amazement and jolly skyrocket as I float away, imagining myself wearing garments meant for regals.