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that don't become them and a superabundance of trimming that is far from good taste". It appears Worth had the charm or gravitas to overcome his clients' requests for the wrong colour or trimming. His son Jean
Philippe later recalled: "His practised eye discerned the color and style of robe that would most completely enhance a woman's charm, and with complete serenity she might leave the matter to him and give her mind to the contemplation of home affairs, her children and philanthropies".
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entrance to meet his party in: "a flowing grey robe that fell to his heels, lined with pale yellow, with a deep vest to match, and numerous other overlapping appliances that modified and gave elegance to a costume as unique as it was comfortable". The visitor, who described Worth as "not a bit 'Frenchy'", also noted that he was of medium height, strongly but not stoutly built with a dark moustache and had the appearance of a man who lived temperately.
468:, he turned his salon into a military hospital. At this stage, the partnership with Bobergh was dissolved – with the Swede returning to his home country. In common with other fashion designers, the House of Worth was affected by the financial downturn of the 1880s. Worth found alternative sources of revenue in British and American customers and also turned his attention to encouraging the struggling French silk industry.
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370:, many wealthy Americans travelled to Paris to have their entire wardrobe made by Worth – and that meant morning, afternoon and evening dresses as well as what were termed 'undress' items such as nightgowns and tea gowns. He would also design special occasion garments, such as wedding dresses. Alongside high society, the House of Worth also produced garments for popular stars such as
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440:– a walking skirt – at the suggestion of Empress Eugénie, who enjoyed long walks but not long skirts. This was initially seen as too radical, even shocking, because it was at ankle length, but its practical benefits meant it was adopted over time. An 1885 example of the Worth 'walking dress' is held at the archives of the Metropolitan Museum of Art.
382:– who shopped there for both performance and private wear. Prices at Worth were dizzying for the time; the last bill it issued to Princess de Metternich – who had commented on the end of the 300 franc dress once Worth acquired royal patronage – was for the sum of 2,247 francs. Her purchase had been one lilac velvet dress.
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Worth began sewing dresses to complement the shawls at
Gagelin. Initially, these were simple designs, but his expert tailoring caught the eye of the store's clients. Eventually, Gagelin granted Worth permission to open a dress department, his first official entrance into the dressmaking world. A 1958
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Worth also changed the dynamic of the relationship between customer and clothes maker. Where previously the dressmaker (invariably female) would visit the client's home for a one-to-one consultation, with the exception of
Empress Eugénie clients generally attended Worth's salon in rue de la Paix for
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with live models in order to promote his garments to clients, and to sew branded labels into his clothing; almost all clients visited his salon for a consultation and fitting – thereby turning the House of Worth into a society meeting point. By the end of his career, his fashion house employed 1,200
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Worth offered a new approach to the creation of couture dresses, offering a plethora of fabrics (some from his former employer
Gagelin) and expertise in tailoring. Within a decade, his designs were recognized internationally and in high demand. By the 1870s, they were appearing in fashion magazines
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published shortly before a centenary exhibition in London to mark the opening of his Paris fashion house noted that the ambitious
Englishman's ideas were almost too much for his employers: "The young Worth, full of ideas, was having such a success at Gagelin's that it was felt necessary to restrain
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Wealthy and socially ambitious women were drawn to Worth's showpiece creations. Over time this included
American clients; Worth loved working with them because his French language skills never reached fluency and, as he put it, American women: "have faith, figures, and francs – faith to believe in
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Worth became
Empress Eugénie's official dressmaker and ensured the majority of her orders for extravagant evening wear, court dresses, and masquerade costumes. She had him on call constantly to create dresses for events she attended. As an example of the scale of Worth's business with the Empress,
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While the 1874 correspondent described Worth as "not a man to be afraid of if one has a liberal exchequer", it was implied that the couturier was not afraid to dictate to clients what they should wear: "Yet Mr Worth declares he has any amount of trouble with women – that they want to wear colours
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The fashion house had begun with 50 staff, but swelled over time to over 1,200 staff. This was work that required painstaking attention to detail, finesse and craftsmanship: a Worth bodice might have up to 17 pieces of material to ensure a good fit on its wearer. Seamstresses would be assigned to
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to
William and Ann Worth. Some sources say he was their fifth and final child, and the only child other than his brother, William Worth III, to survive to maturity. Others say he was the family's third child. Charles' father was a solicitor – described as "dissolute" – and left his family in 1836
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Although its founder was gone, the House of Worth was now an established entity; its most successful years were those around 1900. During this time, women were ordering 20–30 gowns at a time. By 1897, clients could order a garment by phone, by mail, or by visiting one of Worth's branch stores in
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The most famous surviving portrait of
Charles Frederick Worth shows him wearing a hat, fur-trimmed cape and cravat. It appears that he had adopted this distinctive dress from the 1870s. A contemporaneous account from a visitor to the home of "the Napoleon of costumiers" in 1874 described Worth's
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notes: "Before Worth, the idea of a dress being recognizably the work of its creator didn't exist". He regarded clothing as an art, and for the first time, designed clothing, not for a client's taste, but based on his impression of what women should wear. He presented finished model designs to
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explained this comment in somewhat more detail, saying that he was refused a share in the
Gagelin business, even though he had extended its activities into making up, rather than just selling, garments. He had also helped build the company's international reputation by exhibiting prize-winning
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Established in Paris in 1858, his fashion salon soon attracted European royalty, and where they led monied society followed. An innovative designer, he adapted 19th-century dress to make it more suited to everyday life, with some changes said to be at the request of his most prestigious client
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Charles Frederick Worth's dresses were known for their lavish fabrics and trimmings and for incorporating elements from period dress. He created unique pieces for his most important customers, but also prepared a variety of designs, showcased by live models, that could then be tailored to the
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By the late 1880s, Worth had established characteristics of a modern couture house – twice annual seasonal collections and brand extensions through the franchising of patterns and fashion plates. One of his biographers notes that he had also successfully fostered the myth of the "male 'style
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was admired by Empress Eugénie, who asked for the dressmaker's name and demanded to see him the next day. In her memoirs, de Metternich commented: "And so...Worth was made and I was lost, for from that moment there were no more dresses at 300 francs each". Worth promptly replaced
543:. He was described as a "liberal contributor" to French charities and a keen collector of "artistic treasures and curiosities". There seems little doubt that Worth had amassed a fortune; an 1874 visitor to this villa (who called it a château) described an abundance of
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Worth's sons Gaston and Jean, who had joined the business in 1874 to help with management, finance, and design, became increasingly active, leaving Worth free to take more time off in his later years; by this stage he had a variety of health problems, including
512:, meanwhile, suggested that Worth was of so artistic a temperament that he found England unsuited to his temperament and taste, and so gravitated to Paris, the city of light and beauty, to make his name. This was a claim disputed in British society magazine
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With a wife and two sons, Gaston Lucien (1853) and Jean Philippe (1856), Worth was eager to establish himself. By this stage, he was a known name. He acquired a young Swedish business partner, Otto Gustaf Bobergh, and in 1858 the duo set up in business at 7
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has said that his "aggressive self-promotion" earned him the title of the first couturier. Certainly, by 1870, his name was not just known in court circles, but appeared in women's magazines that were read by wide society. He is credited with inventing the
855:"Originating in mid- 19th-century Paris with the designs of an Englishman named Charles Frederick Worth, haute couture represents an archaic tradition of creating garments by hand with painstaking care and precision". Taunton Press, 2001
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248:, London, in 1852, Worth was a sales assistant at Gagelin-Opigez & Cie, a prestigious Parisian firm that sold silk fabrics to the court dressmakers, also supplying cashmere shawls (then a ubiquitous accessory) and ready-made
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464:. Worth closed his business for a year; he was able to reopen a year later, but wartime meant he had difficulty finding clientele, staying in business with lines of new maternity, mourning, and sportswear. During the
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read by wider society. Indeed, the influence of his designs may have spread even earlier via the fashion columns following Empress Eugénie's fashion choices in influential titles such as US magazine
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different workshops where they specialized in, for instance, making sleeves, stitching hems or skirt making. Most of the sewing of Worth garments was by hand, although the advent of the early
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Worth raised the status of dressmaking so that the designer-maker also became arbiter of what women should be wearing. Writing on the history of fashion and, in particular, dandyism, in 2002,
627:) donated 23,000 drawings of dresses to the museum. Two years later, the V&A held a major retrospective to mark the centenary of the foundation of Charles Frederick Worth's business.
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noted that he had turned over the business some years earlier but: "he was to the last a constant frequenter of the establishment". At the time of his death, he had both a house in the
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designer, also using live models. Worth was also the first designer to label his clothing, sewing his name into each garment he produced - the first distinct brand logo on clothing.
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Marriage certificate, Horbling, 2 December 1816, and other primary sources; A Portrait of Bourne by Rex Needle (2014), section "The family background of Charles Frederick Worth"
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290:, naming the establishment Worth and Bobergh. Marie Vernet Worth played a key role from the start, both in the selling of the clothes and in introducing many new customers.
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A Charles Worth Gallery opened in his home town at Bourne, Lincolnshire, containing a display of documents, photographs and artefacts at the Heritage Centre run by the
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in order to promote his gowns to clients. His wife was his early model in the 1850s, leading Lucy Bannerman to describe Vernet as the world's first professional model.
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in London has an archive of Charles Worth designs, including both sketches and garments. In 1956, the House of Worth (by then amalgamated with the fashion house of
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a consultation and it also became a social meeting point for society figures. His approach to marketing was also innovative – he was the first to use live
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In 1846, Charles Frederick Worth moved to Paris. He arrived there speaking no French and with ÂŁ5 in his pocket. By the time his mother Ann Worth died in
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At the age of 11, Charles was sent to work in a printer's shop. After a year, he moved to London to become an apprentice at the department store of
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591:, as it had at earlier great exhibitions. The company's annual turnover was placed at around five million francs at the turn of the century.
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163:, one of the foremost fashion houses of the 19th and early 20th centuries. He is considered by many fashion historians to be the father of
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me, figures that I can put into shape, francs to pay my bills". While some Americans bought Worth's gowns in New York at the shop of
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client's requirements in his workshop. Among his key innovations in women's fashion were to the line of garments and their length.
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in 1869, she had decided she needed 250 Worth dresses. Apart from Empress Eugénie, he had numerous other royal clients, including
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518:, which put his rise to prosperity down to perseverance, intelligence and industry; this article was later reprinted in the
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Bannerman, Lucy (12 July 2008). "Not bad for just a coathanger: how the supermodel took over our magazines and wardrobes".
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said: "It is not a little singular that Worth...should take the lead in what is supposed to be a peculiarly French art".
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Olian, JoAnne. The House of Worth: The Gilded Age, 1860–1918. New York: Museum of the City of New York, 1982. Print.
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in Paris four years later. At the Paris exposition he had displayed a white silk court train embroidered in gold.
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and stables full of immaculately turned out horses. The gardens contained statuary and stones retrieved from
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Although he was not in day-to-day control of House of Worth, he remained an active presence; his obituary in
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described him as a "dressmaker", he developed a framework for making and marketing clothes that shaped the
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Charles Frederick Worth at age 30 – he had already begun to build his reputation in Paris as a designer
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1210:"Charles Frederick Worth, the Paris Dressmaker". No. 3515. The Bradford Observer. 4 April 1874.
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555:(former home of his foremost patron Empress Eugénie) that were about to be incorporated into a new
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at the age of 69. He was celebrated enough to receive a variety of obituary notices. The notice in
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236:. Seven years later, Lewis & Allenby, another leading British textiles store, employed Worth.
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Court dress designed for the Imperial Russian Court, about 1888. Green velvet and silver moiré.
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1669:– Mid-1920s advertising booklet promoting Worth's role in 19th and early 20th century fashion.
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after ruining its finances, leaving his mother impoverished and without financial support.
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Costumes designed by Charles Frédérick Worth at Chicago History Museum Digital Collections
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Valerie Steele: Women of Fashion: Twentieth-century Designers, Rizzoli International, 1991
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566:. He was buried in the grounds of his villa at Suresnes, according to the rites of the
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Charles Frederick Worth was born on 13 October 1825 in the Lincolnshire market town of
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402:"I told you it was a dress from Worth's. I know the look" – an 1875 cartoon by Bertall
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said: "Charles Frederick Worth dictated fashion in France a century and a half before
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World Clothing and Fashion: An Encyclopedia of History, Culture, and Social Influence
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Wedding dress trimmed with artificial pearls for wealthy American Clara Mathews, 1880
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Business Builders in Fashion – Charles Frederick Worth – The Father of Haute Couture
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dressed as "electric light" by Worth for the Vanderbilt fancy-dress ball of 1883
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The House of Worth at 7 rue de la Paix became a meeting point for high society
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Success came fast from this point on; in 1860 a ball dress Worth designed for
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726:– House of Worth was at the height of its success at the turn of the century.
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Charles Frederick Worth's funeral was held at the Protestant Church in the
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At the height of his success, Worth reformed the highly popular trend, the
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Museum of the City of New York online exhibition of Worth couture garments
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167:. Worth is also credited with revolutionising the business of fashion.
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Walden, George; Howard, Philip (28 September 2002). "Fine and Dandy".
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Marie Vernet Worth met her husband while both were working at Gagelin
252:. It was here that he met Marie Vernet, who became his wife in 1851.
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also holds an archive of his work, including several evening gowns.
1599: This article incorporates text from a publication now in the
1646:"Interactive timeline of couture houses and couturier biographies"
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his rashness". His obituary, written by a Paris correspondent for
1496:. New York: The Metropolitan Museum of Art, 2000–. (October 2004)
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Mineola, Dover Publications & Litchfield Historical Society.
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Poiret, Dior and Schiaparelli: Fashion, Femininity and Modernity
1365:. Vol. 77, no. 132. San Francisco Call. 21 April 1895
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clients and dress buyers in similar fashion to the modern-day
1490:"Charles Frederick Worth (1825–1895) and The House of Worth."
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people and its impact on fashion taste was far-reaching. The
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A Cultural History of Fashion in the 20th and 21st Centuries
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DePauw Karen M., Jenkins Jessica D., Krass Michael (2015),
780:. Vol. 60. Oxford University Press. pp. 351–352.
877:"Charles Frederick Worth (1825–95) and the House of Worth"
1177:(2nd ed.). London: Bloomsbury Academic. p. 8.
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1080:(2nd ed.). Abingdon, Oxon: Routledge. p. 282.
814:"Charles Frederick Worth, le "père de la haute couture""
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as the favorite designer and dressmaker of the Empress.
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boomed, alongside Worth's brand, until 1870, when the
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meant some main seams could be stitched mechanically.
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The House of Worth: Portrait of an Archive 1890-1914.
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The Opulent Era: Fashions of Worth, Doucet and Pingat
496:. On 10 March 1895, Charles Frederick Worth died of
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The Age of Worth – Couturier to the Empress Eugenie
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La Couture et la Confection des VĂŞtements de Femme.
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155:(13 October 1825 – 10 March 1895) was an English
1583:The House of Worth: Fashion Sketches, 1916-1918.
1387:, trans. Catherine Ponter (Princeton U.P., 1994)
1385:The Empire of Fashion: Dressing Modern Democracy
1273:"Charles Frederick Worth Industrializes Fashion"
345:Empress Eugénie wearing a gown designed by Worth
547:china; a conservatory full of exotic plants; a
1622:. Vol. 63. London: Smith, Elder & Co.
1531:The House of Worth, the gilded age 1860–1918.
803: ; note that de Marly, p.2 is incorrect.
570:. Marie Vernet Worth died three years later.
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1574:de la Haye Amy, Mendes Valerie D. (2014),
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602:industry that followed. A biography for
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1529:Museum of the City of New York (1982),
904:"GOWNS BY WORTH: GILDED AGE'S OPULENCE"
778:Oxford Dictionary of National Biography
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648:
1578:Londres, Victoria & Albert Museum.
902:Schiro, Anne-Marie (20 October 1982).
1050:"Obituary: Our Paris Correspondent".
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7:
589:1900 Exposition Universelle in Paris
16:English fashion designer (1825–1895)
1718:19th-century English businesspeople
1327:. designerindex.net. Archived from
1723:19th-century French businesspeople
587:. Worth displayed garments at the
175:. He was the first to replace the
109:Marie Augustine Vernet (1825–1898)
14:
1494:Heilbrunn Timeline of Art History
1693:People from Bourne, Lincolnshire
1619:Dictionary of National Biography
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1142:. No. 67706. 10 March 2003.
1119:. Museum of the City of New York
1054:. No. 34522. 12 March 1895.
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1537:Coleman, Elizabeth Ann (1989).
1452:. No. 54212. 25 July 1958.
1004:. No. 54190. 30 June 1958.
1558:Worth: Father of Haute Couture
1526:New York, The Brooklyn Museum.
1448:"Worth Centenary Exhibition".
1074:Snodgrass, Mary Ellen (2015).
604:Museum of the City of New York
1:
1664:A history of feminine fashion
1510:Boston, Little Brown and Cie.
1227:. London: Berg (Bloomsbury).
820:(in French). 25 December 2017
770:Breward, Christopher (2000).
386:Worth's appearance and manner
131:William Worth and Ann Worth,
1728:Fashion designers from Paris
1506:Worth Jean-Philippe (1928),
1466:. Metropolitan Museum of Art
1363:"The World's Great Milliner"
1305:. Metropolitan Museum of Art
1111:Rennolds Milbank, Caroline.
883:. Metropolitan Museum of Art
842:The Oliver Press, Inc., 2003
818:Jean-Claude Pascal, Portrait
676:Empress Elisabeth of Austria
356:Empress Elisabeth of Austria
1688:English emigrants to France
1518:. Indiana University Press.
851:Claire B. Shaeffer (2001).
838:Jacqueline C. Kent (2003).
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1650:Victoria and Albert Museum
1560:. Holmes & Meier Pub.
1428:Victoria and Albert Museum
773:"Worth, Charles Frederick"
632:Metropolitan Museum of Art
621:Victoria and Albert Museum
615:Archives and commemoration
594:While Worth's obituary in
270:of 1851 in London and the
182:Metropolitan Museum of Art
1683:English fashion designers
1667:. Internet Archive. 1926.
1464:"Charles Frederick Worth"
1325:"Charles Frederick Worth"
1113:"Charles Frederick Worth"
853:Couture sewing techniques
564:Avenue de la Grande Armée
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1638:24 February 2014 at the
1610:Worth, Charles Frederick
1556:de Marly, Diana (1991).
1522:Brooklyn Museum (1962),
1514:Saunders, Edith (1955).
1503:Paris, Imprimerie Chaix.
1171:English, Bonnie (2013).
720:court presentation dress
680:Franz Xaver Winterhalter
658:Silk ensemble, 1862-1865
462:Prussians invaded France
436:Worth created a shorter
1541:. Thames & Hudson.
1277:fashionencyclopedia.com
969:Coleman, Elizabeth Ann.
574:Legacy and achievements
350:for the opening of the
153:Charles Frederick Worth
56:, Lincolnshire, England
25:Charles Frederick Worth
1499:Worth, Gaston (1895).
1279:. Fashion Encyclopedia
1221:Parkins, Ilya (2012).
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300:Princess de Metternich
294:House of Worth success
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272:Exposition Universelle
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146:(great-great grandson)
91:Creating haute couture
1606:Alger, John Goldworth
1508:A Century of Fashion.
674:ballgown created for
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1713:20th-century fashion
1708:19th-century fashion
1000:"The Age of Worth".
732:Notes and references
639:Bourne Civic Society
268:The Great Exhibition
1524:The House of Worth.
1383:Gilles Lipovetsky,
1331:on 26 December 2012
724:Moyse's Hall Museum
452:Franco-Prussian War
407:Fashion innovations
314:Godey's Lady's Book
908:The New York Times
521:San Francisco Call
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144:Jean-Claude Pascal
1157:. No. 69374.
1138:"Anniversaries".
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364:Catherine Donovan
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1703:1895 deaths
1698:1825 births
1614:Lee, Sidney
824:23 December
472:Final years
256:article in
1677:Categories
1335:13 October
787:0198614101
670:1865 pink
380:Jenny Lind
352:Suez Canal
323:mannequins
234:Piccadilly
208:Early life
187:hoop skirt
78:Occupation
46:1825-10-13
1608:(1900). "
1450:The Times
1155:The Times
1140:The Times
1052:The Times
1002:The Times
938:The Times
916:0362-4331
596:The Times
539:near the
529:The Times
503:The Times
498:pneumonia
494:migraines
422:crinoline
337:Clientele
263:The Times
258:The Times
140:Relatives
128:Parent(s)
1636:Archived
1117:mcny.org
585:Biarritz
579:London,
557:hothouse
537:Suresnes
509:Le Temps
246:Highgate
202:Galliano
189:and the
120:Lucien,
114:Children
1616:(ed.).
1603::
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1433:15 July
1408:15 July
1369:17 July
1309:15 July
1283:15 July
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1190:15 July
1123:15 July
1093:17 July
887:15 July
645:Gallery
545:faience
438:hemline
250:mantles
135:Quincey
1612:". In
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921:17 May
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625:Paquin
581:Cannes
222:Bourne
191:bustle
118:Gaston
106:Spouse
54:Bourne
1402:Vogue
722:from
672:tulle
583:, or
515:Queen
96:Label
1562:ISBN
1543:ISBN
1472:2015
1435:2015
1410:2015
1371:2015
1337:2012
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1229:ISBN
1192:2015
1179:ISBN
1125:2015
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1082:ISBN
923:2024
912:ISSN
889:2015
826:2021
782:ISBN
630:The
619:The
456:The
378:and
62:Died
40:Born
1492:In
366:on
232:in
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