In a previous blog post, we discussed the triumphant re-entry of the Worth label.  Today, let’s look at the possible impact this will have in the world of couture.

It is a sad reality, but couture is a dying art.  The clothes are artistic impressions from the unlimited imaginations of creative designers.  They are not always wearable and highly subject to individual taste.  They can also be financial sinkholes.

It does not make good fashion sense to spend time, money and labor on something that may not sell.  The value of couture clothing lies mainly in how it reflects on the label and how it drives the complimenting prêt-a-porter (ready-to-wear) collection.  Couture is extremely expensive to manufacture and one disastrous season can cripple a fashion house.  Labels approved to carry the couture title have dwindled from dozens to a mere handful over the years as designers and fashion houses turn out profit-making lines rather than inspirational creations more suited for a museum wall than the catwalk.

When Charles Worth first launched his creations, his focus was not on distorting proportion (at least no more distorted than the fashions of the day demanded) or shocking the world with outlandish design.  He simply created clothing that was exquisitely tailored, beautifully embellished and completely original.  It was the latter years when factories churned out mass-produced clothing that couture took on a new meaning.  Suddenly it became important to make a distinction from the street-wear that everyone could afford and the original pieces made for the rich and famous.  As more and more automated machines took over the fine art of hand tailoring, couture spun off in another direction.  Any machine could assist in the creation of a skirt or a shirt, but it took a master of talent to infuse their creation with car parts (yes, that has happened), or cuts so dramatic they had to be hand stitched.  With a startling rapidity, couture went from being synonomous with expert tailoring to extreme creativity.

If Worth is going to compete in this new world of Couture, it will have to do one of two things.  The first option is to stick to its roots and continue to offer smaller collections of incredible creations.  This year’s fall/winter couture collection is the undisputed winner when it comes to fine detailing, fabric choices, and overall impact (although Dior is running a pretty close second with his floral theme).  If Worth has success with a strategy of re-defining couture and returning it to its roots, other designers will have to follow suit and wild offerings of couture will, once again, turn into simply flawless and well made clothing.

Alternately, Worth can re-invent itself and throw its hat into the haute ring of bigger, better and wilder.  Like the late McQueen, Worth may be limited only by imagination and has the potential to show the world that the ghost of the couture can haunt in this new millennium.  Clearly, the talent is there for Worth to compete with the likes of Chanel, Saab, and Armani, but if it goes this route, the identity of this historic House will be altered forever. 

Is it worth it?
On one hand, it would be wonderful to see more from the house of Worth.  On the other hand I am not sure old-world couture can make a come back and I would not like to see the Worth label re-branded into something it clearly is not.  The house was successful and lives on even without new shows or lines.  Perhaps Worth should stick to quietly coming out of the workroom once a decade or so to remind each new generation of the glory of couture and then gracefully retreat once more amidst the billow seas of fabric, structure, architecture, and mad artistry that the world of couture has become.