How French Fashion Designers Saved Haute Couture in Paris During World War II

There is so much to love about France, from its food and wine to its history and culture. Possibly one of the biggest drawcards is the fashion. Paris Fashion Week is the highlight of many people’s calendars, drawing crowds from far and wide.

But what about the French fashion designers who lived through the Second World War and the people behind the couture houses? Their stories are fascinating, full of twists and turns and rollercoaster journeys. From collaborating with Nazis to designing for Sophia Loren, these icons have inspired generations for decades.

They have shown determination, courage, fortitude, and passion and have never given up on their dreams. From show-stopping couture to everyday elegance, these designers embody the essence of French style at its finest.

4 French Fashion Designers Who Redefined Style for Generations

Living in rural France, fashion isn’t exactly a hot topic of conversation. I’ve ditched my high heels in favor of flip-flops and trainers, and my designer dresses haven’t seen the light of day for several years. The problem is that there is nowhere to go that warrants dressing up in your finery, which is rather a shame.

But that doesn’t stop me from avidly following the world of fashion and indulging in a little virtual window shopping on a regular basis. I recently watched a new TV Series called The New Look on Apple TV, which covers the stories of Christian Dior and Coco Chanel in occupied France during WW2.

It’s fascinating how these two French fashion icons survived during this period. Certainly, the program took some artistic license, but it mostly stuck to what happened. It also gave us a look at Dior’s sister, the inspiration behind the perfume, Miss Dior. 

I was so inspired by their stories that I decided to investigate how the French fashion industry survived the war, specifically how, through one man’s efforts, the Germans were stopped from moving the entire haute couture industry from Paris to Berlin.

Coco Chanel

Gabrielle “Coco” Chanel came from a very poor family. Her humble beginnings were a far cry from the riches she amassed later in life. Born on August 19, 1883, in Saumur, Coco was only 12 years old when her mother died. She and her sisters were sent to a convent in Aubazine, where she learned to sew, a skill that would become her ticket to a new life.

In her early twenties, Chanel worked as a seamstress and sang in cabarets, earning the nickname “Coco.” Her relationships with wealthy men, notably Étienne Balsan and later Arthur “Boy” Capel, allowed her to open her first millinery shop in Paris in 1910. By 1913, she expanded to Deauville, introducing designs that resonated with modern women.

In 1921, Chanel collaborated with perfumer Ernest Beaux to create Chanel No. 5. The perfume’s name and minimalist bottle design contributed to its iconic status. The perfume was followed by the Chanel suit in 1925 and the little black dress in 1926.

During the second world war, she attempted to use Nazi laws to remove her Jewish business partners, the Wertheimer brothers, from ownership of Parfums Chanel. However, the Wertheimers had transferred control to a non-Jewish associate before the war, thwarting her efforts.

When the Germans occupied France during WW2, Chanel closed her fashion house. She became involved with Baron Hans Günther von Dincklage, a German diplomat and intelligence officer known as “Spatz” (German for “sparrow”). Living at the Ritz Hotel, where many high-ranking German officials stayed, she soon became part of their elite society.

This association led to allegations of collaboration with the Nazis, including claims that she acted as a spy under the codename “Westminster.” That codename was in reference to her affair with the Duke of Westminster, a close friend of Winston Churchill. They developed a friendship, with Chanel accompanying Churchill on fishing trips and social gatherings. It was this friendship that would, at the end of the war, keep her out of jail.

Her agreement to work with the Nazis was made under the promise that Chanel’s nephew, André Palasse, who was captured and held in a German prisoner-of-war camp, would be released. 

In return, she reportedly attempted to leverage her Churchill connection to negotiate a separate peace agreement between Germany and Britain, though these efforts were unsuccessful. 

​​After the liberation of France, Chanel was arrested but released without charges, reportedly due to intervention from influential friends. 

She then moved to Switzerland, living in relative obscurity. In 1954, at 70, Chanel successfully returned to fashion, reestablishing her brand. She continued to influence fashion until her death on January 10, 1971. 

Chri​​stian Dior

Christian Dior, born on January 21, 1905, in Granville, Normandy, France, was the second of five children in a prosperous family. His parents envisioned a diplomatic career for him, so he studied political science at the École des Sciences Politiques. 

However, his passion lay in the arts. In 1928, with financial support from his father, he opened an art gallery in Paris, showcasing works by artists like Pablo Picasso and Salvador Dalí. Unfortunately, the Great Depression in 1929 led to the closure of the gallery in 1931, following the collapse of his father’s business.

To make ends meet, he began selling fashion sketches, which led to his employment as a fashion illustrator for various designers and magazines. In 1938, Dior was hired by Parisian couturier Robert Piguet as a design assistant, marking his formal entry into the fashion industry. 

During his time with Piguet, Dior contributed to three collections, gaining valuable experience and recognition. His career was briefly interrupted by World War II, during which he served in the French army.

Luckily, his unit escaped the German advance in May and June 1940. Following the Franco-German armistice on June 22, 1940, Dior and his fellow soldiers were soon demobilized, avoiding the grim fate of many who ended up in German POW camps for years. Rather than returning to Paris immediately, Dior remained in the Unoccupied Zone of France, often staying at his family home in Callian until late 1941.

When he returned to Paris at the end of 1941, he joined the fashion house of Lucien Lelong, where he collaborated with fellow designer Pierre Balmain. Lelong’s mentorship provided Dior with invaluable experience in haute couture, allowing him to refine his skills and develop his distinctive style. 

The Legacy of Lucien Lelong

This period also introduced Dior to the complexities of operating a fashion house under the constraints of wartime occupation. Unlike Chanel, Lelong stayed open during the war, serving German customers. He was instrumental in preserving French haute couture during the occupation, negotiating with German authorities to keep the industry in Paris, which wasn’t without its risks. 

Lelong was head of the trade council in France, the Chambre Syndicale de la Haute Couture, and he worked tirelessly to convince the German powers that be to keep the fashion houses in France and not relocate them to Germany. He even made two trips to Berlin to fight for the cause. He stayed open not to sell to Nazis and make money but to try and save the French fashion industry.

But Lelong didn’t go on this quest alone. The French designers rallied around and found small, creative ways to subvert their occupiers. German officers and their wives were eager customers of French fashion, so designers sabotaged them by offering them absurd, oversized hats instead of refined designs. 

German women walked out in gaudy hats, thinking they looked chic, while Parisians quietly laughed at how ridiculous they looked. Designers also kept their industry going with limited resources by using embroidery and beading instead of ruffles and pleats, ensuring embroiderers had work and families were fed.

It was a testament to the ingenuity of the French in the face of restrictions far harsher than anything American designers faced, all while subtly resisting those who sought to control them.

However, in 1946, with backing from textile magnate Marcel Boussac, known as the “Cotton King,” Dior left Lelong and founded his fashion house at 30 Avenue Montaigne, Paris. His debut collection in 1947 introduced the “New Look,” characterized by rounded shoulders, a cinched waist, and a full skirt, revolutionizing post-war fashion.

Dior’s models, known as “mannequins,” were integral to his presentations. In one advertisement he placed, he received applications from several prostitutes who, believing they could take their clothes off quicker than anyone else, thought they had a shot.

He shared a close bond with his younger sister, Catherine. During World War II, she joined the French Resistance, was captured by the Gestapo in 1944, and survived torture and imprisonment in Ravensbrück concentration camp. Her courage inspired Christian to name his first perfume “Miss Dior,” in her honor.

Dior was known for his superstitions, often consulting tarot readers before shows. He consulted one regularly during his sister’s time in Ravensbrück. His sudden death from a heart attack on October 24, 1957, in Montecatini, Italy, marked the end of an era. His protégé, Yves Saint Laurent, succeeded him, ensuring the continuation of his innovative spirit in fashion.

Yves Saint Laurent

Yves Saint Laurent was born into a well-to-do family on August 1, 1936, in Oran, Alamily. From a young age, he was passionate about fashion and design, crafting intricate paper dolls and designing dresses for his mother and sisters. 

At 17, he moved to Paris to pursue his aspirations, enrolling at the Chambre Syndicale de la Haute Couture, where he honed his design skills. With connections from his father, Yves Saint Laurent was introduced to Michel de Brunhoff, the editor-in-chief of Vogue Paris, in 1953.

De Brunhoff saw potential in him and encouraged him to complete his studies. The two kept in touch. Over the next two years, Saint Laurent sought de Brunhoff’s guidance through letters, asking for advice on how to shape his future in the fashion world.

In June 1955, the two met again, and Saint Laurent showed his latest sketches to de Brunhoff, who immediately noticed a striking similarity to Christian Dior’s A-line style. Impressed, he arranged for Saint Laurent to meet Dior at the iconic 30 Avenue Montaigne. That meeting sealed his future—Saint Laurent was hired to work in Dior’s studio on the spot.

Over the next two years, Saint Laurent immersed himself in haute couture under Dior’s mentorship, absorbing the fine details of creating two-hundred-piece collections that came to life from rough sketches through toiles and meticulous fittings. Initially, he was tasked with decorating the boutiques and assisting with couture dresses, but his dedication quickly earned Dior’s trust and more responsibilities.

Dior taught him not just technique but the essential foundations of high fashion. Saint Laurent later reflected on this time, noting how Dior’s teachings gave him the strong foundation that allowed him to grow, mature, and ultimately define his own vision in fashion.

At Dior, Yves Saint Laurent met people who would become pivotal in his life. Anne-Marie Muñoz, a fellow studio colleague, became a trusted friend and a steadfast collaborator throughout his career, as did model Victoire Doutreleau, who eventually took part in the launch of his own couture house.

While decorating Dior’s boutique at 15 Rue François Ier, he met sculptors François-Xavier and Claude Lalanne. He even created custom greeting cards and quirky designs called “zinzins” for the space. These two would become lifelong collaborators and valued artists in his personal collection. 

Around this time, he also connected with dancer Zizi Jeanmaire and choreographer Roland Petit, for whom he would later design numerous costumes and stage sets. These early encounters would shape and inspire his creative path in the future.

Following Dior’s sudden death in 1957, the 21-year-old Saint Laurent was appointed as the head designer of the prestigious fashion house. His debut collection in 1958, featuring the “Trapeze” line with its fluid lines and relaxed silhouettes, was met with critical acclaim.

In 1960, Saint Laurent was conscripted into the French army during the Algerian War of Independence. The stress of military life led to a nervous breakdown, resulting in hospitalization. During his absence, Dior replaced him with designer Marc Bohan. Feeling betrayed, Saint Laurent sued Dior for breach of contract and won, receiving compensation for his dismissal.

With the support of his partner, Pierre Bergé, Saint Laurent established his own fashion house in 1961. His inaugural collection in 1962 introduced the world to his innovative designs, blending elegance with modernity. This period marked the beginning of his influence on women’s fashion, introducing elements that challenged traditional norms.

Throughout the 1960s and 1970s, Saint Laurent introduced several groundbreaking designs:

• Le Smoking Tuxedo (1966): A tailored tuxedo suit for women, challenging gender norms and offering a sophisticated alternative to traditional evening gowns.
• Safari Jacket and Pantsuit: Incorporated elements of men’s fashion into women’s wear, promoting androgynous styles.
• Mondrian Collection (1965): Dresses inspired by Piet Mondrian’s abstract paintings showcasing a fusion of art and fashion.

In the 1980s, Saint Laurent’s influence continued to grow. However, he also faced personal challenges, including struggles with depression and substance abuse. In 1999, the Gucci Group acquired the YSL brand; in 2002, Saint Laurent retired from fashion design. He passed away on June 1, 2008, in Paris.

Pierre Balmain

Pierre Balmain was born on May 18, 1914, in Saint-Jean-de-Maurienne, Savoie, France. Balmain’s father, Maurice, owned a wholesale drapery business but passed away when Pierre was seven. When he died, the family discovered they were more or less penniless and that Maurice had been hiding his failing business for years. His mother, Françoise, and her sisters managed a fashion boutique called Galeries Parisiennes in Aix Les Bains, immersing him in the world of fabrics and design from an early age.

In 1933, at his mother’s urging, Balmain moved to Paris to study architecture at the École des Beaux-Arts but soon realized his passion lay in fashion design. He left his architectural studies and began working with Edward Molyneux, a British couturier in Paris.

When Balmain was called up for military service in 1939, his time with Molyneux ended, and he formed part of the Alpine defense. During this time, two extremely influential women, Gertrude Stein and Alice Toklas, discovered Balmain. The two women had escaped occupied Paris, choosing to retire to a home close to Aix Les Bains, where Balmain’s mother had her boutique. As mothers do, she extolled the virtues and talents of her son, and the two women became advocates and long-time wearers of his designs.

When France fell, Balmain returned to Paris to work for Lucien Lelong alongside Christian Dior.

Despite being ten years younger than Dior, the two formed a strong bond and relationship and became very close. Dior was a calming influence on the highly-strung Balmain, stepping in when arguments erupted between him and Lelong. 

Once the war ended, the two initially planned to leave Lelong to open their own Atelier. However, these plans fell through when Dior received his proposal from Marcel Boussac, the Cotton King. The relationship then turned sour and a professional rivalry sprung up between the two.

Undeterred, Balmain founded his own fashion house, Maison Balmain, in Paris. His debut collection introduced the “New French Style,” characterized by long bell-shaped skirts and nipped-in waists, emphasizing femininity and elegance. This style resonated with the post-war desire for luxury and sophistication, quickly gaining popularity among fashion enthusiasts.

After getting a write-up in Vogue, he caught the attention of photographer Cecil Beaton, an established member of fashion’s elite. From there, his star rose, and there was no holding him back. He designed for Brigitte Bardot, Katharine Hepburn, Sophia Loren, and Marlene Dietrich.

He was one of the first French fashion designers to focus on the lucrative American market, which is unsurprising, as American Vogue had championed him as the next big thing. In 1953, he introduced his label Jolie Madame into the American marketplace, and it was a hit.

Unfortunately, he was driven more by money than design. Whether this was due to his earlier experiences of being poor is unknown, but he was happy to sacrifice design for demand. He gave women what they wanted rather than pushing the creative boundaries and bending his clients to his will, like Dior, Saint Laurent, and Chanel.

He continued to expand his brand internationally, opening boutiques and introducing ready-to-wear lines. He also ventured into costume design for theater and film, even designing outfits for the 1968 Winter Olympics. 

Somehow, he never quite reached the dizzy heights of fame that his counterparts did. In 1970, he sold his house and continued as creative director. When he passed away on June 29, 1982, his name was sadly no longer synonymous with haute couture.

FAQs About Famous French Fashion Designers

Final Thoughts on French Fashion Designers in the War Years

What struck me most was the resilience of France’s couture industry during the war and how they managed not only to keep it alive but to keep it in France. The Germans aimed to uproot French couture and move it to Berlin. Lucien Lelong stood firm against the move. The bravery it took to resist such an order under occupation was dangerous, to say the least — he was risking everything to preserve France’s most prized industry.

Imagine the impact this could have had on fashion history if he had failed. Christian Dior had yet to show his first collection, and without a thriving Paris fashion scene, many of the iconic French designers might never have reached the heights they did.

A forced relocation of couture to Germany could have rewritten the legacy of haute couture, turning it into something entirely different. The idea of Paris without its couture heritage is almost unimaginable.