1.
Liscombe, Rhodri. "From the Polar Seas to Australasia: Jane Austen, “English Culture,” and Regency Orientalism." Jasna.org. Jane Austen Society of North America, 2008. Web.
This is a picture of the largely known fabric fern Swan and Edgar. This was the first place I worked at that was associated with textiles. It was my second job ever and I was only 13 when I started as an apprentice. It brought me closer to the fashion industry and to the understanding of the intricate textile business. It is largely significant to me as an artist and is a huge part to starting my early career.
2.
"Clothes and The Woman: The Fashionable Firms." Avictorian.com. NetworkSolutions. Web.
This is an image of the fabric firm Lewis and Allenby. After leaving Swan and Edgar, I got a job at Lewis and Allenby. Although Swan and Edgar also sold fabric, Lewis and Allenby was an official silk merchant. Working there I began to get a much stronger understanding of the fashion industry. Since Lewis and Allenby was an official silk merchant, I began to work with more textiles. My understanding of the textile industry greatly increased, I also began to observe a clientele with a broader social background. Working at Lewis and Allenby for several years increased my knowledge of the fashion industry and was where I officially realized my interest as a fashion designer for a career.
3.
"Charles Barry." Architecture.com. R.I.B.A. Web.
This is a picture of the Trafalgar Square in London. As you can see on the left is The National Gallery. I included this picture because i’ve spent a lot of my time in The National Gallery of Art. During the time I spent living in London I often spent my free time in the art exhibits of The National Gallery. I find artwork and paintings very admirable and have as a young child. I also paid plenty attention to the detail in many paintings and ever since have felt the need to portray my design of art with just as much detailing. The National Gallery is a big part of where I found inspiration as an artist.
4.
"Charles Frederick Worth & The Fashion Show." Beautifully-invisible.com. 15 Nov. 2012. Web.
This is a portrait of the lovely Marie Vernet Worth, my wife. This was before she was my wife, I met her through work at Maison Gagelin. At Maison Gagelin, I worked as a salesperson and after meeting Marie through both our jobs, we eventually married and she became my muse. Shortly after falling in love with her, I began to create my first official designs, I wanted my wife to wear clothes made specially for her. She eventually became a model for my designs, after many woman began to notice her clothing. She not only is the love of my life, but she greatly impacted my inspiration and my success in the career of fashion.
"Charles Frederick Worth & The Origin of The Fashion Show."Beautifully-invisible.com. Beautifully Invisible, 15 Nov. 2012. Web.
This is a painting of The Great Exhibition in 1851. The Great Exhibition was the first international exhibition of manufactured items, It was an important event in history, it was especially important for me. I had been working for the company Opigez & Chazelle, after Maison Gagelin was sold and renamed. After receiving clients from my designs Marie modeled, Opigez & Chazelle began showing my work. My work being displayed in Opigez & Chazelle brought a larger clientele to both the company and I. Opigez & Chazelle decided to display some of my designs in The Great Exhibition, which brought a great amount of publicity for myself. After The Great Exhibition, I began to gain clientele from all over the world and soon left Opigez & Chazelle, to begin my official career and company.
6.
Marly, Diana. "The Court Couturier." Worth The Father of Haute Couture. 2nd ed. NY: Holmes & Meier, 1980. 238. Print.
This is an image of my first official advertisement. It is advertising a court dress I have designed. It also shows the detail of my well known shoulder-hung train. It was shown in the Paris Trade Journal. I also illustrated it myself and felt very excited. It felt like a great accomplishment to have my work advertised. It was shown in 1868. 7.
"Charles Frederick Worth & The Origin of The Fashion Show."Beautifully-invisible.com. Beautifully Invisible, 15 Nov. 2012. Web.
This is the Princess Pauline de Metternich in one of my original designs. She was a major reason as to how I became the court dressmaker for Empress Eugénie. Determined to expand my career as a designer, I approached Princess Pauline de Metternich. Many people saw my decision as bold, and it was but I was determined. I remember the day Marie went to visit the princess, with at least 300 of my designs in hand, I felt very nervous but knew Marie would prove well. Marie was just as determined as I, and I remember the exact moment she came home boasting with excitement to tell me the princess had already ordered two dresses and would like to meet. Then after the princess wore a design by me to the next ball at Tuileries Palace, the Empress Eugénie found my design to be very beautiful and she contacted me shortly after, I then became the court dressmaker for the empress.
8.
Bosc, Alexandra. "Day Dress, Maison Worth and Bobergh." Palaisgalliera.com. Paris Musées. Web.
This is one of my original labels. This label is from a teal dress I created, and as you can see features my name and my partner’s. During my time, designers never had labels inside their designs. I take great pride in my work, and decided to put labels inside of all garments i’ve created. It was a new idea, and shortly after Bobergh and I created the labels other designers decided to as well. I feel all artist should address their creations with something that signifies who it was made by, and that is exactly what I did.
9.
"Charles Frederick Worth and The House of Worth." Metmuseum.org. The Metropolitan Museum of Art. Web.
A painting of the beautiful Empress Eugénie by the wonderful artist Franz Xaver Winterhalter. She is wearing one of my designs, specially made for her. Empress Eugénie is one of my major clients, and has been for a long portion of my career. I begin designing dresses for her after she was interested in a dress I designed for Princess Pauline. This is only one of the thousands of designs, I have made for her. This dress was designed as an adaptation to an 18th century dress worn by Marie Antoinette, upon request from the empress. The empress has always been interested in Marie Antoinette, so as the court dressmaker Antoinette was an influence in all of my designs for Eugénie.
10.
Marly, Diana. "Worth and Fashion During the Second Empire." Worth The Father of Haute Couture. 2nd ed. NY: Holmes & Meier, 1980. 238. Print.
This is an image of my beautiful family. My lovely wife Marie is wearing the short walking skirt designed by me. Marie was the first to wear this version of a skirt, and as you can see she is also wearing a hat instead of a bonnet which was unusual during that time, she has always modeled my clothes well. Standing next to her is our two beautiful sons, Gaston and Philippe. Gaston is shown at age 10 and Philippe is shown as age 7. My wife and two sons are a huge part of my life and I adore them with all my heart. I am forever grateful for my family and that is why I decided to show you all them.
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