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THE HAUTE COUTURE CLIENTELE: A PRIVILEGED AND DEMANDING RELATIONSHIP
- Camz
- Mar 16
- 3 min read
Updated: Mar 21
Haute couture has always embodied a world of exclusivity and immutable traditions. Its clientele is divided into two categories: private clients and professional buyers, the latter being exclusively foreign until 1945.
A Demanding and International Private Clientele
Until 1914, half of haute couture's private clients were French. However, after the First World War, American fortunes, particularly from the North and South, took over, compensating for France's economic decline and the decline of European courts. By the 1970s, the Emirates, South America, and the Far East dominated the haute couture market.
For decades, haute couture sales followed strict and codified rituals. Each customer had a dedicated saleswoman, and fittings were organized according to a rigorous protocol. For example, at Jean Patou in 1925, 100 saleswomen used 30 fitting rooms to present nearly 700 designs.
In 1963, the arrival of Michel Goma at Jean Patou further energized this system: 17 sales assistants and 7 workshop assistants worked tirelessly to satisfy a demanding clientele. The first sales assistant played a crucial role, ensuring a relationship of trust with the customer. The team was completed by second sales assistants, who received a nominal salary but benefited from privileged apprenticeships within the fashion houses.
However, with the social and economic revolution of 1968, the haute couture clientele dwindled. From 20,000 clients in 1943, it fell to only 2,000 in 1970, then 200 in 1990. Some fashion houses, such as Grès and Dior, experienced a gradual decline in the number of clients.
Professional Buyers: Between Exclusivity and Reproduction
Professional buyers play a strategic role in haute couture, gaining access to collections a month before private clients. Their purchases are priced 40% higher than those of traditional clients due to reproduction rights. They can only sell fabric copies, without access to sketches, patterns, or prototypes.
At Christian Dior in 1947, the "ELLE" model illustrates these price differences well: sold for 32,000 old francs to a client, it cost 45,000 francs to a professional buyer. Unlike private clients, buyers received the models without fitting or alteration. Although these sales were very profitable, they only represented about 20% of haute couture turnover until 1960.
Relations between couturiers and buyers are regulated by the Chambre Syndicale de la Haute Couture Parisienne. All buyers must obtain an official card and adhere to a strict collection distribution schedule.
Three types of buyers can be distinguished:
Manufacturers, who mass-produce clothing for their own distribution.
Stores with a custom department or outsourcing production.
Tailors working to order.
Until 1945, French clothing manufacturers were excluded from haute couture shows to protect the domestic market. Foreign manufacturers, however, always had access to the collections in Paris, a center of fashion innovation.
From 1945, some French manufacturers were finally able to attend the presentations by paying a "viewing fee", allowing them to draw inspiration from the models without copying them directly.
Haute Couture and "7th Avenue"
New York's 7th Avenue is home to some of America's most influential haute couture buyers. In 1968, Jean Patou attracted big names such as Kimberly, Suzy Perette, Abe Schrader, Adèle Simpson, and Geoffrey Beene.
To distribute designs among competing manufacturers, designers must navigate strategic demands and commercial tensions. However, some designers sell their creations at fixed prices, allowing them to be reproduced in thousands of copies, which is generating growing discontent on both sides.
THE RECOMMENDATION:
If you're interested in fashion history and the dynamics of textile production, From the Path to 7th Avenue: Clothing and Immigrants: Paris-New York 1880-1980 is a must-read. This book explores how immigrant communities shaped the garment industry in Paris and New York, highlighting the economic, social, and cultural challenges of the sector. A valuable reference for understanding the evolution of ready-to-wear clothing and its impact on the world today.
Conclusion
Haute couture relies on a complex ecosystem, balancing tradition and adapting to changing economic conditions. While individual clients have long been the heart of this industry, professional buyers have played a strategic role in spreading the prestige of couture houses internationally. Despite the decline in client numbers since the 1970s, haute couture retains its aura and continues to embody the excellence of French fashion.
