EN: A Career in a Haute Couture Atelier

For 42 years, our guest has honed her expertise within a prestigious haute couture house, specializing in tailoring. Jackets, coats, trousers—each piece she crafts embodies rigor, precision, and excellence.

In this interview, she shares her journey, the secrets of her craft, and her dedication to passing on this unique savoir-faire. Let’s dive into the demanding yet fascinating world of haute couture.

Thank you so much for taking the time for this interview; it’s truly kind of you. To start, could you introduce yourself and explain your profession?

Of course. I have been working in this haute couture house for 42 years. My role is that of a highly skilled première main, a key position in the creation of bespoke pieces. I specialize in tailoring, mainly jackets, coats, trousers, and straight skirts.

So, tailoring focuses on structured pieces, primarily jackets and coats?

Exactly. Tailoring involves complex garments, especially in terms of structure. We often work with wool fabrics, but nowadays, also with softer materials. However, adaptability is crucial, as each piece requires a different approach.

That means tailoring demands great precision and specific techniques, like interlining, right?

Yes, absolutely. Interlining is a technique used to reinforce the fabric in an artisanal way. Instead of using fusible interfacing, we apply a wool canvas to give the garment its structure. It’s a meticulous process requiring great precision.

So interlining is like a second layer that stiffens the garment?

Exactly. It shapes and supports the jacket. This method is unique to haute couture, unlike ready-to-wear, where fusible interfacing is used to speed up production.

You’ve worked in this field for 42 years. Have you always been with the same house?

Yes, I was fortunate to start my career here, and I have never worked anywhere else. It’s quite a unique journey, and I never felt the need to change.

Have you always held the same position throughout your career?

For the most part, yes. I have always worked in the same atelier, but my responsibilities have varied. Although I mainly create jackets and coats, each project is unique, as every fabric requires a specific interlining technique.

How is the work in your atelier organized?

The structure is quite hierarchical. The atelier manager oversees the work, assisted by their second-in-command. Once the artistic director approves the sketches, the pattern maker creates the garment’s patterns, and we, the premières mains, handle the construction.

So you are responsible for assembling and interlining the garments?

Exactly. Once the model is finalized and the interlining method is determined by the atelier head, it’s our job to bring the piece to life with the desired finish.

How did you get started in haute couture? Did you undergo specialized training?

Yes, I studied Fashion and Custom-Made Design in a fashion school. I didn’t do an apprenticeship at the time; instead, I went through an intensive sewing program where I learned the fundamentals: sewing, drawing, and toile creation. After that, I completed a three-month internship at the Chambre Syndicale, which helped me land my first job.

So you trained quickly and immediately entered the world of haute couture?

Yes, exactly. Thanks to my studies and the internship, I was ready to work in an atelier right away. At that time, haute couture houses were actively recruiting young talents.

How was your integration into the atelier?

At first, I handled simple tasks, like assembling basic pieces. But I learned a lot by observing other premières mains and practicing. Gradually, I took on more responsibilities.

What do you love most about your job?

I love the precision, craftsmanship, and high standards involved. Each piece is unique and requires deep thought. This profession demands a lot of patience and meticulous attention to detail.

After 42 years in the field, have you noticed changes in haute couture?

Of course. Techniques and fabrics have evolved, and the pace has become faster, but the fundamental principles remain the same.

Has the role of a première main changed over time?

A little, but the core skills and discipline remain unchanged, regardless of technological advancements.

You mentioned training apprentices. How do you view the transmission of knowledge?

It’s essential. These techniques must be passed down to ensure they are not lost. It’s also rewarding to see young people who are passionate and motivated. Some give up because this profession requires immense dedication, but others thrive and find true fulfillment.

What advice would you give to a young person interested in this profession?

Be patient, disciplined, and above all, passionate. If you don’t love what you do, it’s difficult to last in such a demanding field.

Have you worked on any particularly iconic pieces in your career?

Yes, one of the most memorable pieces I worked on was an iconic jacket that is widely recognized. It’s a very complex model to construct, especially due to the use of silk faille, a very rigid fabric. I am the last artisan still responsible for this model.

It must be an honor to be responsible for such an iconic piece, right?

Yes, it’s a true privilege. It’s like preserving the legacy of the house. This design endures, even after the original creator left. And, of course, I am responsible for passing on this expertise to the younger generation in the atelier.

Do you regularly train new talents?

Yes, I have had the opportunity to train several apprentices, and it’s always a great pride to see them progress and work with passion. Teaching these skills is crucial to keeping the craft alive. It takes time, but that’s how true learning happens.

With new techniques emerging through technology, how is the atelier adapting?

It’s an exciting evolution. Sometimes, new recruits bring innovative methods, which allows for exchanges and experimentation. Staying curious is important, even after so many years of experience.