Monica D. Murgia

Where art, creativity, and fashion meet
August 16th, 2011

Maison Calvet

 

 

A few weeks ago, when writing about Callot Soeurs, I was contacted by Marcela Calvet of the Maison Calvet.  She informed me of the fascinating connection between the Callot Soeurs and Maison Calvet that I was not aware of.   Callot Soeurs, a couture house founded by four sisters in 1895, was purchased by the house of Calvet.  In 1928, the House of Calvet had made a partial acquisition of the label, completing its total acquisition in 1937.  Marcela was gracious enough to allow me to interview her about the House of Calvet, for which she currently designs a line of heritage handbags.

Callot Soeurs design, 1934. Illustrated by Alexandre Iacovleff. Image courtesy of HPrints.com

Q) I really had no idea that Callot Soeurs was purchased by the Maison Calvet in 1937.  Can you provide a brief background on the Maison Calvet?  I personally am not familiar with this Maison and find it very intriguing! 

A)  Back in the late 1920’s the Callot Soeurs had expressed their desire to expand their successful fashion label and thus, they sought out the capital investment of a serious company that would not be necessarily associated with the fashion industry — to avoid a take-over or competition.   And so they approached the revered Maison Calvet which since 1819 was one of the most important and successful wine empires in the Bordeaux region of France (today it continues to be the 4th largest producer of French wine).

Calvet therefore infused the capital investment the Callot Soeurs label needed to expand their presence and open boutiques in key markets around the world: London, Buenos Aires, Biarritz, as well as to expand their couture and perfume lines while also allowing for the label to have exotic skin handbags made to order for their esteemed and exclusive clients.  By the early 1930’s the Callot sisters had decided to retire and have the son of one of them run the fashion house.

This was not exactly the best move for it almost brought the label to ruin.  Calvet therefore saved the label by acquiring the remaining stock in the company while sustaining not only the prestige and name of the famed label intact, but also their loyal designers and employees.   The label under the leadership of Calvet continues to expand and succeed in the competitive world of fashion,while forming key partnerships with several other prestigious labels like Hermes, Rochas, Patou, Fath, Balenciaga, Nina Ricci, to name a few.  An invaluable partnership that would ultimately pull all of them through the horrors of WWII, to surface victorious once the war was over.

Callot Souers label. Image courtesy of thebagfile.blogspot.com

Q) During the 1930s, right before WWII, many Paris based fashion houses were aggressively marketing in South America.  Is this what launched and continued the Maison Calvet which is now in Buenos Aries?

A)  Indeed, the wealthy population of South America and of Argentina in particular (before WWII), were accustomed to travel to Paris to acquire their best couture. This made it clear to the Parisian fashion houses that having a presence in such key markets was paramount, and thus, several of them began to open boutiques there.  In Buenos Aires, where the majority of the population was of European descent and whose customs were decidedly European, this was a successful move for the fashion industry.  Already in existence in Buenos Aires was the only HARRODS department store outside of London.  The Parisians knew that the time to act and open their own boutiques there was of the essence; and Callot Soeurs was one of the first to do this.

Calvet Window Display of Beautiful Handbags. Image courtesy of Marcela Calvet.

Q) Your handbags are exquisite!  What is your design process?  Do you consult a historical archive to draw on the heritage of the brand?

A) Since I began to lead the new CALVET label,  I realised how important the history behind the brand was and thus my mission has been to keep the traditional values that made the original label so iconic.  That means:  exquisite design,  superior expert craftsmanship,  use of the very best materials and to provide the best customer service experience in order to purvey the same level of luxury for which the label was famous.  In regards to the particular designs I create for our handbags,  I am fortunate to be able to draw from my background in Psychology as well as from our historical archives. From the perspective of Psychology, I design with the awareness that a handbag has to elicit an emotion.  This emotion has to be the right one from the viewpoint of the person considering the design.  And from our historical archives, the fact that there are several vintage designs created by CALVET still in existence and in pristine condition allows me to gain inspiration as these are true works of art.  In this manner I recreate some of their best features in my new designs, and our clientele appreciates this very much.

 

Marcela Calvet with her Beautiful Creations. Image courtesy of noblivity.com

Q) On your website, it says you honor the traditional methods of craftsmanship.  Can you tell us a little more about your process?  This is a great insight into what makes a Calvet bag a must have.

A) When the CALLOT label first opened its Buenos Aires boutique, they had also opened an atelier where the made-to order handbags would be made utilising the best in Argentine leathers and exotic skins.  At this atelier only the most skilled craftsmen and women who possessed the know-how that had been passed down by the Italian masters who had immigrated to Argentina since the 19th century, were employed. They were artisans who possessed not only superior skills but also a great Sense of aesthetics to create the incredible pieces they did; and most importantly, they had a genuine passion for their craft.  The Calvet atelier in Buenos Aires follows this tradition to this day.

What makes a Calvet handbag a “must have”?  We pride ourselves in the fact that we love what we do and we spare no detail when it comes to our luxury lines.  From the initial sketches I create to the finished product it is all there.  That means, Argentine calf leather lining the interior of each exotic skin handbag,  protecive brass feet when the design allows; the best Italian solid brass hardware.

In terms of aesthetics: the elegant design that is not just avant-garde but practical at the same time.  The use of tanning methods that are
eco-friendly, the use of natural dyes that are not harmful to the environment and are better for the skin or leather. The creation of special colours and shades that make our handbags stand out.   From a consumer-oriented perspective,  our promise that a Calvet handbag is a solid investment to be passed down to the next generation.  The proof is the vintage Calvet bags that can still be found in perfect condition after 70 years of life.  This same principle applies to the new Calvet handbag.    We are “Art-A-Porter” !

Carmen Handbag. Available at MarcelaCalvet.com

Q) What are a few of your favorite handbags for this fall from your line?

A)  I think all of my handbags are favourites!  I adore each and every one of them!   What I find so encouraging is that our clients often communicate how happy they are with their handbags and how much they love them.  Several have even admitted that their Calvet handbags are their favourites in their wardrobe!  As a designer with a mission, that is what fulfills me.  When a customer says that to me, it means that I am doing precisely what I set out to do: to provide a product that through its beautiful features and quality brings happiness to those who have placed their trust in our brand.

Calvet was recently the recipient of the 2011 BEST OF RHODE ISLAND  award.  For more information, or to order, please visit MarcelaCalvet.com

GHTime Code(s): nc nc 

April 25th, 2011

How to Speak Fashion: Part I

Looking through fashion periodicals and books is exhilarating.  Finding that perfect accessory or dress is a magic moment.  You see it, you read the text.  You have to have it.  Now, you are on a mission to make it yours.  After a little internet research, you make a phone call.  Maybe you call a friend to tell them about your newly coveted item.  Perhaps you are researching something for a major presentation.  Or you could just be calling Neiman Marcus to place an order.  But the inevitable moment happens.  Your elation turns to panic.  How do you pronounce the designer????  Fumbling, your confidence goes down. 

“Do I sound like a complete idiot???”; you think to yourself.

Guess what!  You are not alone.  I came across a book that had a pronunciation guide and wondered:

“WHERE HAVE YOU BEEN ALL MY LIFE???  YOU COULD HAVE SAVED ME FROM A MILLION EMBARRASSING MOMENTS!!!!

The next few posts will be dedicated on how to pronounce those beautiful, and tricky, French designer names.  Also included are brief snippets about the designers/design houses to help you feel polished and confident when talking about your latest fashion obsession.

Albouy (al-boo-EE):

Gerard Albouy (1912 1985) often known by the name Ouy, was a French milliner . Between 1938 and 1964 he operated a Parisian hat shop called Albouy that was known for its decorative baroque-style hats.

 

Albouy design by Pierre Simon, 1945
Albouy sketch by Pierre Simon, 1945

 

Albouy, 1949.

 

 

Balenciaga (bal-len-see-AH-ga):

Fashion house, established by Cristobal Balenciaga (1895-1972).  Balenciaga was Spanish, and opened up several ateliers in Madrid, San Sebastian, and the Basque  region (c.1919) before moving on to Paris in 1937.  The move was prompted by the Spanish Civil War.   Balenciaga created immaculately constructed clothing that was as feminine as it was avant-guard.

 

Cristobal Balenciaga

 

Balenciaga, 1941.

Balenciaga. Illustration by Guy Demachy, 1948.

 

 

Balenciaga flamenco inspired evening dress, 1951.

Currently, there is a Balenciaga retrospective at the de Young Museum in San Francisco.  A must see!  Click here for details: Balenciaga and Spain

Nicolas Ghesquière (guess-key-AIR) is the current designer for Balenciaga.  He has been the lead designer since 1997.  Ghesquière enjoys referencing the legacy of the house by visiting the archives frequently.

Nicholas Ghesquiere

Original 1967 Balenciaga Design (left) and Ghesquiere’s Contemporary Rendition (right)

 

Balmain (bahl-MAN):

Fashion house created by Pierre Balmain (1914-1982).  Balmain trained with couturiers (coo-tour-e-yay) Molyneux and Lelong before going solo in 1945.  During WWII, Balmain was noted for his long, bell-shaped skirts.  He continued to make elegant evening clothes.

 

Balmain at WorkEvening Dress, detail, by Pierre Balmain. 1946.
Evening Dress by Pierre Balmain. 1957

 

Dress Detail, 1957

 

Christophe Decarnin (1964) was the chief designer for Balmain until this this month.  Decarnin announced his departure from Balmain on April 6, 2011.  Stay tuned to hear who is next . . .

 

Christophe Decarnin

 

 

Balmain illustration by Rene Gruau, 1946.

 

Bruyere (bru-YEHR):

Established by Marie-Louise Bruyere in 1928.  Bruyere worked at Callot Soeurs (Kah-low SOOR) and Lanvin (Lawn- VAN) before opening her own salon on the Place Vendome (plas van-DOM).

Bruyere created haute couture (oat koo-toor) collections until the 1950s, after which the label switched to ready-to-wear.

 

Bruyere, 1939.

Bruyere, 1945.

Bruyere. Illustration by Rene Gruau, 1945.

Bruyere. Illustration by André Delfau, 1947.

 

 

Callot Soeurs (Kah-low SOOR)

Couture house from 1895-1937, launched by 4 sisters.  Hallmarks of garments produced by Callot Soeurs are lace, embroideries, and delicate handwork.  The sisters were Japanese enthusiasts, and often incorporated oriental motifs and themes into their collections.

 

Callot Soeurs. Wedding Dress, 1916.

 

 

Comtess de Zogheb in Callot Soeurs, 1923.

 

 

 

Callot Soeurs, 1938.

 

 

Jean Desses (zhawn dess-SEZ)

Jean Desses (1906-1970) was Greek (real name was Jean Dimitre Verginie).  He studied law before turning to fashion design in the 1930s.  In 1936, he founded his own salon.  Desses created gowns for European royalty and wealthy clients.  He was fascinated with draping, and often made gowns that referenced classical Greek sculptures.  He also favored an architectural silhouette for his garments.

Jean Dessès Evening Gown. Illustration by Pierre Mourgue, 1949.

 

 

Jean Desses Evening Gown, 1953.

 

Evening Dress. Jean Desses, 1948.

 

 

 

 

Evening Gown, Jean Desses. 1953.

Enjoy the illustrations from this post?  Please visit HPrints.com to see more and order some for yourself!

 

 

 

 

 

GHTime Code(s): nc nc 

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