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311:. In 1910, one reporter wrote glowingly, "With taste, so original, so fine, and so personal, Madame Chéruit has placed her house of fashion at the first rank, not only in Paris, but in the entire world." During her career, Chéruit refined for her aristocratic clientele the creative excesses of some of her contemporaries, offering soft, feminine, richly ornamented dresses which helped transition the couture industry from the glamour of high fashion to the reality of
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end to her enormous celebrity in French society. Despite rumors that she was guilty of spying for the
Germans herself and, if tried, might be executed, Chéruit maintained an unswerving, if behind-the-scenes, influence on the artistic direction of her company. In early 1915, the house of Chéruit was acquired by its directors Mesdames Wormser and Boulanger, who,
290:. Cheruit commissioned an architect to expand the premises to serve her growing clientele. By 1910, Chéruit was one of the most celebrated designers in Paris, the unveiling of her latest collections closely followed by the press, her image drawn by leading artists, and her name mentioned by the ubiquitous
527:
When World War I struck, most Paris fashion houses shut down or reduced production, but Chéruit remained fully operational. However, in 1914, following a scandal involving her lover, an
Austrian nobleman and military officer who was accused of espionage, Cheruit was forced into seclusion, a startling
232:
Her mother was a seamstress and she received her early professional training in dressmaking during the late 1880s with
Raudnitz & Cie, located in the heart of Paris. The salon especially appealed to women who wanted ensembles that exuded an air of youthfulness and simplicity, made of the finest
367:
Chéruit's aesthetic was traditionally feminine, incorporating soft fabrics, pastel colors and rare embroideries, but she was innovative in line and cut. In late 1911, she introduced the pannier gown, full at the hips and tapering to an ankle-length hem, which recalled French court fashions of the
678:« ... Non, répondait Elstir, mais cela sera. D'ailleurs, il y a peu de couturiers, un ou deux, Callot, quoique donnant un peu trop dans la dentelle, Doucet, Chéruit, quelquefois Paquin. Le reste sont des horreurs. »
237:, was such that they ascended to leading positions within the firm. On 28 August 1895, she married Prosper Chéruit, who supported her creative talents and contributed to some business aspects of her early career.
228:
magazine described her as "a Louis XVI woman because she has the daintiness, the extravagant tastes, the exquisite charm, and the art of those French ladies who went gaily through the pre-revolution epoch."
244:, one of the early twentieth century's most visionary designers, by buying a collection of twelve of his first designs in 1898. By 1900, labels sewn into clothes created at Raudnitz bore the words
352:
artists to fill the journal's pages with striking illustrations of the designers' fashions, along with essays by noted writers. The magazine printed images on fine papers using the expensive
218:
Many basic facts about the life of Chéruit are uncertain, although recent research shows that her forename was not
Madeleine, as so many traditional fashion resources claim. According to the
574:, Cheruit's taste for opulence lost appeal and she retired in 1923. But for more than a decade, the house continued to produce beautiful, if no longer innovative, fashions including the
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18th century. Delicate evening dresses may have been her forte, but she was also adept at elegant street wear, and by 1914, her walking suits and afternoon gowns were fashion staples.
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In 1906, the fashion house with its more than 100 employees became her own, and it was rechristened as 'Chéruit'. The salon occupied the distinguished hôtel de
Fontpertuis on
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styles that defined the Jazz Age. In the mid to late 1920s, the brand was especially associated with the photographer Edward
Steichen and his enticing images for
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of the
Cheruit-dressed model Marion Morehouse. The design firm's continued popularity was reflected by iconic references in Evelyn Waugh's 1930 bestseller,
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technique, making it a truly exclusive venue for showcasing the couturiers' latest designs. Chéruit had a special affection for the artistic style of
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magazine in the 1920s. One particular
Steichen image has become iconic – Morehouse in a jet-beaded black net Chéruit dress, first published in 1927.
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172:(with whom she conducted an affair before opening her couture house) and for the appearance of her name in two celebrated works of literature,
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In addition to evening gowns, the house was known for chic cinema wraps, furs, lingerie, wedding trousseaus, even children's clothing in
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La Ville lumière : Anecdotes et documents historiques, ethnographiques, littéraires, artistiques, commerciaux et encyclopédiques
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in New York. The fashion house was reestablished in 2008 at its original location, 21, Place Vendôme in Paris.
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designs on dresses, coats and other articles of apparel. These striking creations drew the attention of
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In 1912, Chéruit signed a contract to collaborate with Lucien Vogel to produce the fashion magazine
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As one of the leaders of French style, Chéruit and her house of couture took fashion from the
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168:) from 1906 to 1935. She is best remembered today as the subject of a number of portraits by
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observed, kept the salon "to its original type" while bringing "much originality to it."
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248:– with the names of the sisters in more prominent type. By 1905, the firm's labels read
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539:. Fascinated by the effect of light on fabric, Chéruit and her designers worked with
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Dresses by Chéruit may be found in the collections of major museums, including the
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With the move toward simpler fashions after the war, typified by such designers as
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955:(1948), p. 57; "It is the Skirt of the Times of Louis XV Which Cheruit Likes,"
192:(1930). Her name is also frequently associated with the fashion photography of
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Marie Huet and Louise
Cheruit, married women, trading as Raudnitz and Co
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1016:"Shocking! The Art and Fashion of Elsa Schiaparelli - teacher's pack"
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Raudnitz & Cie, Huet & Chéruit Srs., 21, Place Vendôme, Paris
627:, February 1915, pp. 18-19; Anne Rittenhouse, "Fashion Under Fire,"
551:, and followed the latest trends in art, for instance hand-painting
712:"Roman d'Une Garderobe le Chic d'une Parisienne de la Belle Epoque"
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of her generation, and one of the first women to control a major
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252:(French for 'Huet and Chéruit, formerly Mr. Raudnitz and Co.').
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919:, January 15, 1912, p. 21; "The Designers Open Their Doors,"
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famously took over Chéruit's 98-room salon and work studios.
947:"Lady Duff Gordon Discusses the American Style Situation,"
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According to the
Carnavalet Museum, Chéruit died in 1955.
971:, April 27, 1915; "The Blue Book of the Grande Maisons,"
897:
Antique Print Club, search: "Bon Ton" (Fashion/Pochoir)
647:, commentary about a portrait, downloaded 31 March 2012
272:
Garden party dresses designed by Chéruit, published in
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1014:Philadelphia Museum of Art Division of Education.
809:Wedding Dress, Raudnitz and Co. - Huet and Chéruit
250:Huet & Chéruit, Anc.ne Mon. Raudnitz & Cie
233:fabrics. Her talent, alongside that of her sister
222:, she was born as Louise Lemaire on 9 June 1866.
872:, Paris: Paris Direction et Administration, 1909
240:Mme Chéruit notably helped launch the career of
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915:"In Paris it is Written, 'Elegance Oblige,'"
748:Linda Walters, and Patricia Cunningham, ed.,
8:
1101:Fédération de la Haute Couture et de la Mode
1021:. Philadelphia Museum of Art. Archived from
1002:Classic Film Heroines, actress Jeanne Eagels
885:Classic Chic: Music, Fashion, and Modernism
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951:, November 1914, p. 115; M.D.C. Crawford,
523:modeling a dress and cape by Chéruit, 1921
348:– joined the project. Vogel hired leading
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825:Suit, Raudnitz and Co. - Huet and Chéruit
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264:Main showroom at Chéruit in Paris, 1910
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135:Chéruit and often erroneously called
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693:"Cheruit's Gown of Glittering Jet,"
131:Lemaire; 1866–1955), also known as
1192:Invited, foreign and guest members
839:Archivi della Moda del Novecento,
750:Twentieth-Century American Fashion
324:. Six other top Paris designers –
25:
1061:Chéruit, 21, place Vendôme, Paris
794:Heilbrunn Timeline of Art History
1046:The Metropolitan Museum of Art,
989:, "Madeleine Cheruit, 1906-1935"
874:, p. 97 (translated from French)
823:The Metropolitan Museum of Art,
807:The Metropolitan Museum of Art,
792:The Metropolitan Museum of Art,
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987:Fashion Designers of Their Time
286:, built in the 17th century by
214:Chéruit with her daughter, 1907
1222:French women fashion designers
949:American Cloak and Suit Review
855:À la recherche du temps perdu,
829:, digital image of dress label
813:, digital image of dress label
682:Vile Bodies and Black Mischief
672:À la recherche du temps perdu,
1:
717:(in French). Musée Carnavalet
151:house. Her salon operated at
143:. She was among the foremost
975:, December 15, 1915, p. 55.
796:, "Paul Poiret (1879-1944)"
623:Louise Cheruit, "La Mode,"
433:A dress for the beach, 1913
372:Chéruit fashions, 1912–1914
1248:
938:, downloaded 31 March 2012
906:, downloaded 31 March 2012
841:Madeleine Chéruit, atelier
631:, October 1, 1914, p. 110.
603:Metropolitan Museum of Art
457:A garden party dress, 1913
297:Remembrance of Things Past
179:Remembrance of Things Past
47:Portrait de Madame Chéruit
1198:List of grands couturiers
645:: "Madame Chéruit" (1900)
511:World War I and the 1920s
445:Mother and children, 1913
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39:
1217:French fashion designers
923:, April 1, 1912, p. 108.
586:. In 1935, the designer
493:An afternoon dress, 1914
469:An automobile coat, 1913
159:under the name Chéruit (
933:Vintage Fashion Guide,
764:"Untitled press notice"
409:A reception dress, 1913
27:French fashion designer
1048:Search the Collections
853:Marcel Proust (1919),
670:Marcel Proust (1919),
658:James McNeill Whistler
656:Richard Dormant, ed.,
524:
397:An evening dress, 1912
279:
265:
215:
1050:, "Madeleine Chéruit"
985:The Costume Gallery,
762:Staff writer (1903).
697:, May 1, 1927, p. 59.
518:
362:La Gazette du Bon Ton
321:La Gazette du Bon Ton
275:La Gazette du Bon Ton
271:
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213:
161:French pronunciation:
505:A morning coat, 1914
481:A summer dress, 1914
421:A summer dress, 1913
385:A dinner dress, 1912
953:The Ways of Fashion
737:The Ways of Fashion
344:, and the House of
1160:Jean Paul Gaultier
1150:Giambattista Valli
1120:Alexandre Vauthier
1000:Roaring Twenties,
969:Women's Wear Daily
959:, October 4, 1914.
768:The London Gazette
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735:M.D.C. Crawford,
643:Paul César Helleu
588:Elsa Schiaparelli
326:Georges Doeuillet
220:Carnavalet Museum
170:Paul César Helleu
137:Madeleine Chéruit
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53:Paul César Helleu
18:Madeleine Chéruit
16:(Redirected from
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660:(1995), p. 276.
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684:(1958), p. 46.
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307:through the
305:Belle Époque
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187:
184:Evelyn Waugh
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1232:1955 deaths
1227:1866 births
584:Vile Bodies
572:Coco Chanel
557:silent film
338:Paul Poiret
242:Paul Poiret
189:Vile Bodies
182:(1910) and
81:Nationality
1211:Categories
1032:2008-04-25
774:22 October
721:22 October
676:, p. 165,
609:References
568:Jean Patou
235:Marie Huet
206:Early life
145:couturiers
89:Occupation
1063:, website
859:, p. 165.
256:1906–1914
107:Signature
1155:Givenchy
900:Archived
519:Actress
350:Art Deco
309:Jazz Age
1108:Members
935:Cheruit
887:(2006).
576:flapper
541:taffeta
354:pochoir
342:Redfern
294:in his
1135:Chanel
857:tome 5
827:(1905)
811:(1900)
674:tome 5
597:Legacy
553:Cubist
278:, 1914
133:Madame
99:Spouse
84:French
55:, 1898
1196:See:
1026:(PDF)
1019:(PDF)
973:Vogue
921:Vogue
917:Vogue
715:(PDF)
695:Vogue
629:Vogue
580:Vogue
549:gauze
537:rayon
530:Vogue
346:Worth
225:Vogue
199:Vogue
157:Paris
1140:Dior
776:2014
723:2014
570:and
547:and
545:lamé
76:1955
73:Died
68:1866
61:Born
186:'s
176:'s
155:in
128:née
51:by
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702:^
616:^
563:.
543:,
364:.
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336:,
332:,
328:,
315:.
300:.
1092:e
1085:t
1078:v
1035:.
725:.
125:(
49:,
20:)
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