Madame Grés, the French haute couture designer who was highly regarded by her peers, leading image-makers and high-profile clientele. Originally working in partnership under the name Alix, Grés began working under her own name in 1942. She used the
Who? Madame Grés, the French haute couture designer who was highly regarded by her peers, leading image-makers and high-profile clientele. Originally working in partnership under the name Alix, Grés began working under her own name in 1942. She used the modern techniques of pleating, draping and sculpting half a century ago and constantly said throughout her life: "I wanted to be a sculptor. For me, working with fabric or stone is the same thing."
What? The retrospective, Madame Grès: Couture at Work features 80 timeless designs, 50 photographs taken by Henry Clarke, Richard Avedon and Cecil Beaton and a selection of sketches to commemorate the late designer’s work. Set in the Musée Bourdelle in Paris – a space which once served as the studio of sculptor Antoine Bourdelle – dresses are displayed against a backdrop of Grecian sculptures, mirroring Madame Grés’ use of drapery which flattered the female form and caused the wearer to appear statuesque.
Why? The chance to experience an in-depth exploration of such a prolific designer is one not to be missed. The retrospective is particularly timely, with the autumn/winter rife with examples of pleating (Junya Watanabe), draping (Haider Ackermann) and sculptural silhouettes (Givenchy). Grés channelled her love for the neoclassical into her gowns, often requiring models to stand still for hours on end whilst she hand pinned each garment, skilfully constructed from a single piece of cloth. Despite her distaste for mass produced fashion, she reluctantly (likening it to "prostitution") began making ready-to wear in the early 80s but due to financial problems the house closed its doors only a few years later. Her last work was commissioned by Givenchy in 1986. A major influence on contemporary designers (including Jean Paul Gaultier and Azzedine Alaïa), one of the few fashion houses Grés expressed mutual admiration for was Yves Saint Laurent and so it’s a fitting tribute that the Fondation Pierre Bergé – Yves Saint Laurent funded the 2,900 drawings on display at the exhibition.
Madame Grés, Couture at Work runs until 24 July at Musée Bourdelle, Paris
Text by Fiona Cook
