Robe de style, 1924–25
Jeanne Lanvin (French, 1867–1946)
Ivory and black silk taffeta trimmed with pink and black silk velvet rosettes
Gift of Mrs. W. R. Grace, 1956 (C.I.56.49.9)
Robe de style, 1924–25
Jeanne Lanvin (French, 1867–1946)
Ivory and black silk taffeta trimmed with pink and black silk velvet rosettes
Gift of Mrs. William B. Given Jr., 1979 (1979.122.1)
Technical Glossary
Jeanne Lanvin (French, 1867–1946)
Ivory and black silk taffeta trimmed with pink and black silk velvet rosettes
Gift of Mrs. W. R. Grace, 1956 (C.I.56.49.9)
Robe de style, 1924–25
Jeanne Lanvin (French, 1867–1946)
Ivory and black silk taffeta trimmed with pink and black silk velvet rosettes
Gift of Mrs. William B. Given Jr., 1979 (1979.122.1)
High art as well as haute couture have often been erroneously associated with the sovereign disposition. But haute couture has also been conditioned on the relationship between couture ideas and the will of the client. A client seeking a demure profile might ask for a particular décolletage treatment, while another might demand an alternative. A designer would allow variation only in modules, but a couture garment often becomes a synergy of client and couturier.
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