Lemarié’s suppliers were concentrated around the Rue du Faubourg Poissonnière, overlapping the 9th and 10th arrondissements of Paris. This location was confirmed by the collection of invoices preserved in the house’s archives.

Suppliers of feathers, beads and flowers, dyes and varnishes, other feather workshops, but also packaging suppliers and brokers were gathered in a limited area, located between the Stock Exchange and Rue du Quatre-Septembre, the Gare de l’Est and Château-d’Eau, Arts-et-Métiers and République. These businesses formed a true network founded on geographic proximity and thereby comprising a territory for fashion, proof of their interdependence. 

Façade sur rue, 103 Rue du Faubourg-Saint-Denis, 12 October 1919.

The example of Lemarié house

Craftman's network

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des fournisseurs

le quartier

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of suppliers

The district

19M is a space for creation, promotion, and transmission of fashion arts professions. Created at CHANEL’s initiative, these premises located at Porte d’Aubervilliers, host the workshops of twelve specialized companies. Over 700 craftspeople and collaborators work there. 

The building, designed by Rudy Ricciotti, also houses a school—in order to ensure the transmission of these crafts—a cafe, and a gallery open to the public. 

Established as a bridge between the 19th arrondissement and the town of Aubervilliers, 

19M seeks to foster vocations by forging strong territorial roots.

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Champs-Élysées, Montaigne, and George-V avenues delineate the perimeter of what is commonly called “the golden triangle.” Following the 1848 Revolution, it became the residential area for the wealthiest Parisian families, who moved from the Place des Vosges to the 8th arrondissement. Luxury hotels and businesses quickly set up shop, as did couturiers. The first was Paul Poiret, who opened his house in 1909 on Avenue d’Antin (now Avenue Franklin Roosevelt). He thus initiated couture’s move to this “neighborhood,” which then became the area for living, spending, and doing business for the most affluent. To this day, it still remains the epicenter of luxury fashion with the presence of many haute couture houses.

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d'or

le triangle

triangle

Golden

In the late nineteenth century, Palmyre Coyette and her two sisters founded a “Factory of feathers for adornment, all kinds of fantasies, high-end novelties,” on Rue du Faubourg-Saint-Martin. In 1880, Eugène Lemarié also created a “Factory of feathers for adornment.” Both these feather-making workshops opened in what would become one of the epicenters of Parisian fashion accessory production, located on either side of Rue du Faubourg Poissonnière.

The study of an archive of supplier invoices and account books held in the Lemarié archives has brought to light an ecosystem of crafts within this neighborhood. It has revealed the variety of activities and knowhow revolving around a feather maker.

In the following legend, the crafts and suppliers are listed according to their order of appearance in the production process.

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À la fin du XIXe siècle, Palmyre Coyette et ses deux sœurs fondent une « Fabrique de plumes pour parures, fantaisies en tous genres, hautes nouveautés », rue du Faubourg-Saint-Martin. En 1880, Eugène Lemarié crée lui aussi une « Fabrique de plumes pour parures ». Ces deux ateliers de plumassiers s'implantent dans ce qui deviendra l'un des épicentres de la production parisienne d'accessoires de mode, localisé de part et d'autre de la rue du Faubourg Poissonière.

L'étude d'un fonds de factures de fournisseurs et de livrets de compte conservés dans les archives de la maison Lemarié a mis en lumière un écosystème de métiers au sein de ce quartier. Elle révèle la diversité d'activités et de savoir-faire qui gravitent autour d'un plumassier.


Dans la légende suivante, les métiers et fournisseurs sont classés selon leur ordre d’apparition dans le processus de production.

l'exemple de la maison Lemarié

Réseau d'artisans

Métiers d’art à paris

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Anatomie d'un objet d'Art

This Roger Vivier pump, from 1970-71, brings to mind the collective dimension of the art of shoemaking. Because creating an exceptional shoe, involves a good number of crafts and professions that play a part in the process orchestrated by the shoe designer. Roger Vivier, the visionary shoe designer who knew how to blend tradition and innovation, explored new materials, creating iconic shoes, while relying on talented craftspeople.

Students who contributed to the research: 

Dissecting a Fashion Art Piece

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Roger Vivier

Escarpin

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en marche

Jeunesse

Bottillon 1966

Peter Knapp Christiana Steidten 1969

Ballerine Vers 1965

pump

in action

Youth

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Vivier

Roger

Portrait of Roger Vivier

Monsieur Roger Vivier presenting Christian Dior designs. 29 January 1954.

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brodés

Souliers

High heels 1954

shoes

Embroidered

des métiers

Un soulier,

Escarpin Roger Vivier 

Patron de chaussure en 3 parties, pour la maison Roger Vivier

Patron de chaussure en 4 parties, pour la maison Roger Vivier 

several crafts

One shoe, 

Buttons crafted by François Hugo (1899-1982), a true artist-craftsman, are one-of-a-kind pieces created for the most prestigious houses. Balmain, Dior, and Schiaparelli turned to François Hugo to design and craft buttons for them—creations combining exceptional craftsmanship and boundless creativity, sometimes going far beyond functionality. François produced buttons merging art and craft for haute couture. He was even better known, however, for being the goldsmith for Jean Cocteau, Max Ernst, and Picasso, whom he met through his brother Jean Hugo, a painter and set designer. He brought these artists’ designs to life in his Aix-en-Provence workshop, where he set up shop in 1957.

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François Hugo

Boutons

de laiton

Bouton fleur 

Fleur en laiton

Registre bouton laiton

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buttons

button

Brass flower

pensée

 Bouton

Bouton pensée

Registre Bouton pensée

 Pansy

l’art du bouton

François Hugo,

François Hugo dans son atelier d'Aix

François Hugo dans son atelier

Reportage "François HUGO, orfèvre de PICASSO" 1961

Reportage ""François HUGO, orfèvre de PICASSO"" 1961

the art of the button

et l’esprit

La main

Bouton à queue

Ensemble de boutons François Hugo Entre 1940 et 1952

and mind

Hand

Plexi-Fleur

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Registre plexi-fleur

Plexi-Flower

Created in 1966, this Indian-inspired bag is a clutch designed by Van Cleef & Arpels. The beige satin body is embroidered with gold metallic threads and encrusted with stones, using the Zardozi technique originating in India. It features an accordion- pleated double compartment with a pocket for a mirror and a lipstick case.



Students who contributed to the research: 

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Van Cleef and Arpels

Pochette

Zardozi

La broderie

Pub maison Ganeshi Lall & Son_1904

clutch

embroidery

et la mode parisienne

L’Inde 

Ensemble du soir en crêpe Princess Luciana

Ensemble Ken Scott

Pyjama par Forquet

and Parisian fashion

India

le luxe

Rendre accessible

La boutique en 1956

Dos de la pochette

accessible

Making luxury

 emblématique

Une maison

Griffe Van Cleef & arpels

La façade de la boutique Van Cleef & Arpels place Vendôme, Paris, vers 1906. Archives Van Cleef & Arpels

 house

An iconic

A daytime model, most likely worn over an updo, this hat dates to about 1895. It is fashioned from a braided straw base, shaped using steam by the milliner. The care given to assembly, the subtle interplay of materials, and the discreet adjustment inside the hat reveal a highly refined craftsmanship. Located on Boulevard Malesherbes, Madame Ledant’s workshop was implanted in the geography of Parisian fashion, not far from the place where the young Gabrielle Chanel started out.



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Maison Ledant

Chapeau

en cinq étapes

La fleur artificielle

François Kollar "La France travaille". Couture et mode. Fleurs et plumes. 1934

François Kollar La France travaille. Couture et mode. Fleurs et plumes. 1934

Fleur artificielle

Les fleurs autre vue

Ledant

in five steps

An artificial flower

modiste

Atelier de modiste Vers 1900

Salon de madame C

Atelier de confection et de fabrication de chapeaux Mars 1941

Intérieur chapeau

milliner

de la modiste

L’atelier

François Kollar Mains de la modiste Madame Agnès 1937

François Kollar La modiste Madame Suzy arrangeant un chapeau en tulle brodé 1937

Autre vue chapeau

Vue chapeau au dessus

workshop

The milliner’s

miroir des époques

Le chapeau,

Henry Clarke Le mannequin Dovima, Christian Dior Printemps 

Cloche à bosses larges

a mirror of the times

The hat,

This necklace, created by Roger Scémama for the couturier Jacques Fath, exemplifies the golden age of the parure in the 1950s. This craftsmanship utilizes far less expensive materials than the ones used in fine jewelry-making, thereby making it possible to imitate high jewelry with a  shorter turnaround and lower costs while keeping pace with fashion trends. True collaborations developed between couturiers and paruriers (costume jewelers) with the passing collections and runway shows.



Weaving, enbroidering, embellishingThe Crafts and Trades of Fashion