In 1912, Mme Chéruit signed a contract to collaborate with Lucien Vogel to produce his new fashion magazine, La Gazette du Bon Ton. Six other top Paris designers – Georges Doeuillet, Jacques Doucet, Jeanne Paquin, Paul Poiret, Redfern & Sons and the House of Charles Worth – joined the project. Mme Chéruit retired in 1923, and in 1935, shortly after the peak years of the Great Depression, Elsa Schiaparelli famously took over Chéruit's 98-room salon and work studios.
“It is unthinkable for the breasts to be sealed up in solitary confinement in a fortress-like castle like the corset, as if to punish them,” wrote Paul Poiret—and so the figure was freed. The spurning of tight, confining undergarments happened as lighter, floatier, more diaphanous fabrics came into favor—like that seen here in a Chéruit design from 1928.
Dress (Ball Gown) Raudnitz and Co. - Huet and Chéruit (French) Date: ca. 1905 Culture: French Medium: silk, linen Dimensions: Length at CB (a): 16 in. (40.6 cm) Length at CB (b): 59 in. (149.9 cm) Credit Line: Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Mrs. Robert G. Olmsted, 1965
Together at Last. Our curators spotted this unidentified Art Deco dress in an auction catalogue and knew just where it came from. They recognized it as a design from early 20th-century couturiere Madeleine Chéruit, but that’s not all—it matched a photograph in our collection. In the photo Marion Morehouse (who later became Mrs. E. E. Cummings) models the richly sequined chiffon dress. You can see both in the Art of the Americas Wing.