During April, Europeana Fashion will explore the history of couture, dedicating each week to a different couturier. The second issue focuses on Callot Soeurs, a Parisian fashion House ran by three innovative sisters, quoted as one of the greatest in Marcel Proust novel “À la Recherche du Temps perdu”.

One of the most influential and successful Parisian fashion houses of the 20th century, Callot Soeurs had shops in Paris, London and Buenos Aires and an exclusive clientele all across Europe and United States. Although their work was immortalized in the art of Giovanni Boldini and in the nostalgic novel of Marcel Proust, they were almost forgot in a mainstream fashion history. Only in 1990s their reputation was revived through the display of their works in fashion and costume exhibitions and museums.

Evening gown designed by Callot Soeurs, 1907-1910 ca. Collection Galleria del Costume di Palazzo Pitti.

Callot Soeurs founded their business in 1895 and were initially four, Marie Gerber, Marthe, Regine and Josephine, the youngest who sadly committed suicide in 1897. Descending from a family which dealt with art and textiles – their father was a painter and antiquarian, their mother a lace-maker descending from a lace-makers family – they were accustomed to precious fabrics, lingerie and laces their family shops were renowned for. Lace, indeed, was one of the fabrics that most characterized the sisters’ work, Marcel Proust himself noted in his novel that the Sisters used “a little too much” of it! Their couture gowns were realized with hand-made lace, usually reconstituted 18th century lace. However, they also introduced more innovative fabrics such as gold and silver lamé and a more elastic gabardine for their sport couture.

Silk damask tea-gown trimmed with lace, designed by Callot Soeurs, Paris, ca. 1905. Collection Victoria and Albert Museum, CC-BY-SA.

A business ran by women for women, they were also among the first to abandon the corset for less constrictive silhouettes. Marie Gerber, the elder sister, had a design talent besides having trained herself as a premiere in the atelier of Raudnitz & Cie. Inspired by the Orientalism and avant-garde arts, she eventually designed also Cubist dresses, made of laces and embroideries resembleing collages. She used to drape fabrics on models and let her toile-makers to execute the design. One of these toile-makers was, from 1901 to 1906, Madeleine Vionnet. In future, she would have recognized Callot Soeurs as being those who inspired her to became the great couturier she was, by saying that “without the example of the Callot Soeurs, I would have continued to make Fords. It is because of them that I have been able to make Rolls Royces”.

“Le Style Parisien”, Ice Skating outfits by Chéruit, Premet, Callot, Jenny, Lanvin and Paquin. Collection Anna Russ, Kunstbibliothek, Staatliche Museen zu Berlin, CC-BY-NC-SA.

After the death of Marie Berger, the couture house was run by her sons Pierre and Jacques, who continued to sell to the House’s loyal clientele. However, the economic crash of the 1929 had a great impact on the business, who eventually closed in 1937.

Stay connected to Europeana Fashion’s Facebook page to learn more about Callot Soeurs and through a selection of pictures from Europeana Fashion’s collection!