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Charvet Place Vendôme

 
Wikipedia: Charvet Place Vendôme
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Charvet Place Vendôme
Type Private
Founded Paris, France 1838 (1838)
Founder(s) Christofle Charvet
Headquarters Paris, France
Key people Anne-Marie Colban, director
Jean-Claude Colban, director
Industry fashion
Products shirts, ties and suits
Services bespoke and ready-to-wear

Charvet is a French high-end bespoke and ready-to-wear clothing company whose flagship store is located at 28 Place Vendôme in Paris. It produces and sells shirts, ties, blouses, pajamas and suits.

The world's first ever shirt shop, Charvet was founded in 1838. Since the 19th century, Charvet has been a specialized supplier of bespoke shirts and haberdashery to kings, princes and heads of state. It has acquired an international reputation for its high quality of products, its level of service and its wide range of designs and colors. The company is also renowned for its ties and charvet has become a generic name for a certain type of silk fabric used for ties.

Due to its unique longevity, the history of the brand is intertwined with the history of modern fashion. Famous customers have qualified their patronage as a personal attribute and writers have used the brand's values as a way to express their characters' identity.

Contents

History

Foundation

Fashion plate (Le Follet, 1839) showing Charvet shirts, one of them with a turned down collar

The shirtmaking store founded in 1838[n. 1] by Christofle[n. 2] Charvet, whose father had been "keeper of the wardrobe" for Napoleon Bonaparte,[3][n. 3] was the first of its genre in Paris. Previously, shirts were generally made by linen keepers with fabric provided by the customer,[5] but Charvet was the first store where clients were measured and fabric selected on site.[6] In fact, Charvet was one of the first companies to be called a chemisier (shirtmaker).[n. 4]

In the late 1830s Charvet held the title of official shirtmaker to the Jockey Club,[6] a circle of exclusive nineteenth-century French high society.[n. 5] then headed by Napoléon Joseph Ney, Prince de La Moskowa and inspired by the French dandy Alfred Guillaume Gabriel, Count D'Orsay.[9]

Christofle Charvet is credited with the original design of a collar that could be turned down or folded, much in the manner of contemporary collars.[10]

Édouard Charvet succeeded his father Christofle in 1868.[1]

Photo (1909) of the store at 25, place Vendôme

Location

The store was initially located on the Rue de Richelieu.[5]

It moved to number 25, Place Vendôme in 1877.[11] This move reflected a shift in the center of the Parisian high society[12] and the growing importance of the Palais Garnier against the Théâtre Italien, closer to Charvet's original location.[8] Though Charvet began to offer women's blouses and men's suits, men's shirts remained the house's specialty. A correspondent of the Chicago Tribune, visiting the store in 1909, reported "there were shirts of every variety and almost every color [,] artistic enough to make one long for them all, and each and every one most beautifully made."[13]

In 1921,[14] the store moved to number 8, Place Vendôme.

In 1982, it moved to its current location, at number 28.[15]

Charvet remains the oldest shop on Place Vendôme, which explains both the inclusion of the location into the firm's name, and the use of the sun device ornating the balconies of the Place, which was built in honor of Louis XIV, the Sun King.

International recognition

Portrait (1905) of King Edward VII by Luke Fildes, Royal College of Physicians

In 1869, Charvet was granted a Royal warrant of "chemisier in Paris" (shirtmaker in Paris) by the King-to-be Edward VII, who was then a referee in matters related to mens' elegance, both in London and in Paris.[16] The title of the warrant uses the French word chemisier not only because the trade was still new and the English term was not yet used,[n. 6] but also because shirtmaking was then a Parisian specialty.[n. 7]

At the 1889 Paris World's Fair, for which the Eiffel tower was built, Charvet won a gold medal. The Jury noted: "Fine shirts remain the property and glory of Paris. It suffices, to be convinced of this, to give a look at the 1889 Exhibition to the displays of the companies specialized in royal haberdashery".[19][n. 8][n. 9]

Other royal patronages confirmed this princely speciality of Charvet, such as Alfonso XII of Spain (1878), Antoine, Duke of Montpensier (1879), Philippe, comte de Paris (1893), and Sultan Abdul Hamid II.[n. 10] Nevertheless, in a manner characteristic of the mid 19th century Parisian life style, as opposed to the Ancien Régime way of life, Charvet's customer base was not restricted to aristocrats.[n. 11] Customers included artists such as Charles Baudelaire,[25] who gave a metaphysical dimension to dandyism, Georges Sand,[5] whose lover Alfred de Musset never succeeded to become a member of the Jockey Club,[8] Édouard Manet,[26] nicknamed the "Dandy of painting"[27] or Jacques Offenbach,[6] composer of La Vie Parisienne.

Portrait (1897) by Boldini of Montesquiou in a Charvet shirt and tie, Musée d'Orsay

Notoriety continued spreading into the twentieth century, helped by its location in Paris at the centre of fashionable life. The next generation of customers included not only the royal, such as Alfonso XIII of Spain (warrant granted in 1913); Edward VIII, Duke of Windsor; the French president Paul Deschanel, noted for his elegant Charvet ties;[28] but also members of the high society gravitating around dandies such as Robert de Montesquiou,[n. 12] and Evander Berry Wall, or artists as Jean Cocteau (who wrote that Charvet is "where the rainbow finds ideas")[32] and his friend Sergei Diaghilev.[33] As expressed by Proust,[n. 13] being a customer of Charvet continued to be almost synonymous to belonging to this high society for those who deemed Charvet to be the "king of men's fashion".[37]

The name Charvet was so well known that it had even become a generic description for a certain silk fabric for ties, called a charvet silk.[38] This notability however also extended to other items of clothing, including shirts,[39] shirtings,[n. 14] ties,[n. 15] dress suits,[n. 16] waistcoats,[n. 17][n. 18] undergarments,[n. 19] pocketchieves,[46] and other accessories.[n. 20]

Charvet shirts were imported into the United States as early as 1877.[48]

Like many European companies, Charvet was greatly affected by World War I: "our looms have been destroyed, our collections pillaged, our printing blocks burned". Nevertheless it continued to send representatives to the United States to show collections of novelties.[49]

Art Deco period

Sketch (1918) by Dufy for a Charvet silk square, Centre Pompidou

After World War I, with the development of the Art Deco style, Charvet, along with fashion designer Paul Poiret, started to commission art work from the French painter Raoul Dufy, the "granddaddy of modem chic",[50] through the French weaver Bianchini-Férier.[51] One of the first was a silk square to celebrate the end of the war, the Victory Rooster (Figure, right).[52] This was followed by more silk squares, woven silk fabrics for vests,[9] and printed ramie fabrics for dressing gowns and shirts.[53] Some famous customers of the period were fashion designer Coco Chanel[54] and the Maharadjah of Patiala who once placed a single order of 86 dozen shirts.[55]

In the late 1920s, Charvet conceived a range of summery bold printed tie patterns which gained wide popularity in the USA.[n. 21] "Its chic was in their unfussy, nonchalant bearing. To the delight of their many admirers, the Charvets' open settings facilitated blending with all kind of fancy suits […] The original Charvet prints became the first, and regrettably almost the last, bold figured necktie to symbolize upper-class taste".[58][n. 22] These patterns, for which charvet became a generic name,[60][61] "foreshadowed the brilliant"[62] American designs of the 1940s and early 1950s and caught on with the young aesthetes of the days.[n. 23]

Charvet was De Gaulle's shirtmaker since he was a captain.

Colban's takeover

When in 1965 the Charvet heirs sought to sell the firm, they were contacted by an American buyer. The French government, knowing Charvet had been for a long time General de Gaulle's shirtmaker, grew concerned. The French Ministry of Industry instructed Denis Colban, Charvet's main supplier, to locate a French buyer. Rather than approaching investors he decided to purchase the company himself.[54]

Until then, Charvet was operated in much the same way as it had been since its foundation: a customer was shown only what he requested, in most cases something fairly conservative. After Mr. Colban bought the firm, things changed.[n. 24] A wide range of products was put on display, transforming the store in a "veritable casbah"[10] of colors and fabrics. Colban also brought significant changes to the aspect of the store, having all the venerable furniture varnished in black.[10] He created new lines of products and started ready-to-wear finely made shirts for men[55] and women.[65] A few years after, he was one of the first of many famous European shops and designers to sell ready-to-wear shirts, ties and accessories to Bergdorf Goodman.[66] However, even while developing these new pre-made lines of products, Colban always insisted on the bespoke aspect of the firm as its core identity.[n. 25]

Colban refused numerous offers to sell the company, maintaining the single store in Paris and continuing the house as a family business. After his death in 1994,[68] the company has been managed by his two children, Anne-Marie and Jean-Claude.

Modern customers include French presidents François Mitterrand[69] and Jacques Chirac,[70] American presidents John F. Kennedy[n. 26] and Ronald Reagan,[5] French actors Catherine Deneuve[5] and Philippe Noiret,[73] American movie stars Sofia Coppola [74] and Bruce Willis,[75] fashion designers Yves Saint Laurent[76] and Jasper Conran[77] (See also: List of Charvet customers.).

Charvet today

The goal of the company is to give its customers the option to custom order or customize everything[15] it sells, from neckwear to underwear.[78] Bolts of fabric on display throughout the store can be held against oneself to see how they really look.[79] Charvet creates exclusive fabrics for all its collections[80] and prides itself of going a long way to satisfy customers, remaking on request ties purchased years earlier[81] or changing a shirt's frayed collar and cuffs.[82]

Store

The Place Vendôme store

The store is located in one of the hôtels that surround the Place Vendôme, Number 28. This building has a three-story Jules Hardouin Mansart facade behind which Charvet occupies eight floors, each owner on the Place having built to his own needs. This is the only store directly operated by Charvet. It is open from 10 am to 7 pm, Monday to Saturday.[83]

True to Denis Colban's merchandising ideas, the ground floor offers a contrast between the formality of the setting and the seemingly informal abundance[67] of silk accessories, from ties to scarves[84] to silk knots invented here.[n. 27] Each necktie comes in at least two dozen colorways and new designs arrive each week.[9]

While ready-to-wear shirts and home wear are displayed on the fourth floor, ready-to-wear blouses on the second floor and children's shirts on the first floor, the third floor is dedicated to bespoke shirtmaking. This "centre of the universe for shirt aficionados"[87] could be the largest selection of fine shirtings in the world,[88] with four hundred shades of white[89] and two hundred of blues.[76] Most fabrics are exclusive, designed by Charvet and woven from specially chosen Egyptian cotton.[90] About a thousand new patterns are introduced each year.[91] The Charvet stripes are often multicolored, thinner than English stripes and softer in the matching of shades.[92]

Men's custom-tailoring is on the sixth floor, which has a men's-club atmosphere.[67] Some 4,500 bolts of fabric are on display[79] and walls hung with 1960s fashion illustrations of Dean Martin look-alikes drawn by Jean Choiselat.[9]

Products

Shirts

Charvet shirt details

The attention given to precision and symmetry[93] expresses French classicism.[94][n. 28] In particular, a lot of attention is given to the regularity of stitches and the matching of patterns.[96] On a typical striped ready-to-wear shirt and unlike most other makes,[97] the placket is matched with the front,[92] the face of the collar with the bottom, the collar stripes line up with the yoke stripes, the yoke stripes with the sleeve stripes, the sleeve stripes with the sleeve placket stripes,and finally the match the shade of yarn used for the buttonholes is matched to the stripe,[89] the whole process creating the feeling the shirt is all one piece.[94] The yoke is one-piece and curved to follow the back. The left cuff is made one-quarter inch longer than the right to allow for the watch.[n. 29] For men, shirt tails are square and vented for a clean look. For women, they are rounded, with a signature side-seam gusset.[97] The collar is very clean-cut,[99] made from six layers of unfused cloth for a dressy, yet not stiff, appearance. Instead, a free floating stiffener provides much more comfort and a more elegant shape.[100] The stitching on a standard collar is four millimeters from the edge.[55] The stitching of the top and the edges are precise and well-planned.[97] There are twenty stitches per inch.[101] Buttons are made from Australian mother-of-pearl, cut from the surface of the oyster shell for added strength and greater color clarity.[15]

A bespoke shirt requires a minimum of 28 measurements and an initial version made in basic cotton.[102] The fit is "full and snug at the same time."[103] The minimum order is one shirt.[104] There are only fifty shirt-makers working in the Saint-Gaultier atelier and only one person works on a shirt at a time, whether custom or ready-to-wear,[n. 30]doing everything except for the buttonholes and pressing the shirt.[95] Each shirt takes thirty days to complete.[105]

Neckwear

Charvet ties, ranked as the best designer's ties in the USA,[106] are hand made,[107] generally from a thick multicolor woven silk,[108] of a high yarn count,[90] often enhanced by the addition of a hidden color,[109] producing a dense[110] fabric which goes through a proprietary finishing to acquire lustre, fluidity and spring[96] and achieve the right knot.[90] The company develops its own exclusive patterns and colors. It creates about 8,000 models per year,[111] woven on exclusive commission, with silk either alone or mixed with other precious yarns, such as cashmere,[112] camel hair, bamboo yarn or covered with laminated precious metals, such as silver, gold or platinium,[113] with techniques dating back to the 14th century when the popes were based in Avignon.[114] Due to its long history of woven patterns, first used in the 19th century for vests and then for ties,[114] Charvet has at any time a wide range of patterns, sometime "unmistakably bold"[90] or "witty [and] wicked",[115] often noted for their their shimmer and their changing colors,[n. 31]available in about 5,000 color variations,[114] giving each customer over 100,000 options[116] to be unique.[114]

Ties have a full-bias cut[90] and are sewn entirely by hand.[88] Seven-fold ties are available on order.[111][n. 32]

The company produced a range of political ties for the 2008 American presidential campaign.[117][n. 33]

During the 1950s, it invented a special style of bow tie, a cross between a batwing and a butterfly, for the Duke of Windsor[5].

The eponymous style n° 30 of the book [120] on the 188 styles of tie knots[n. 34] is a three layered bow-tie worn by a woman, the constitutive ribbons being stitched together behind the neck.

Suits

Following the traditional bespoke process, measurements are taken, a basted canvas is built around the customer, then disassembled and traced onto paper, after which there are two more fittings. The suit is hand-sewn.[79]

Literary allusions and brand image

Search Wikiquote Wikiquote has a collection of quotations related to: Charvet Place Vendôme
“ Sebastian entered — dove-grey flannel, white crepe-de-Chine shirt, a Charvet tie, my tie as it happened, a pattern of postage stamps. ”

—Evelyn Waugh[63]

Allusions to Charvet in literature illustrate the brand's identitity. References to Charvet in modern British or North American fiction help describe socially a character by its external appearance, such as elegance,[63] nobility,[123] wealth[124] or occupation.[125] Examples of Charvet's "brand emotion"[126] are literary allusions where the reference to the brand denotes a character's taste[127] or some of his psychological traits such as cheerfulness,[128] detachment,[129] eccentricity,[130] or mischief.[131]

Notable Clients

Main article: List of Charvet customers

Charvet's returning clients have been compared to an "international fan base".[76][n. 35] Some customers, as Charles Haughey[n. 36] or Bernard-Henri Lévy,[n. 37] for various reasons, "became synonymous with Charvet".[141]

Notes

  1. ^ The founding year of Charvet is not a matter of total consensus. For the company itself and a majority of sources, it is 1838. Nevertheless, some other qualified sources[1][2] refer to 1836.
  2. ^ Christofle[1] is an older writing of Christophe[2].
  3. ^ Though not self-confident in matters related to fashion, Napoleon gave it a lot of importance, for political and economical reasons. The keepers of his wardrobe had to be very knowledgeable about elegance.[4]
  4. ^ In 1837, Lami-Housset, the first shirt-maker,[7] was described in Le Follet as a "tailor for shirts".
  5. ^ Around 1840, the Jockey Club had about 250 members, mostly aristocrats, more interested in elegance than horses. Being a member was a necessary step in order to be a "lion" (the word used then for a dandy).[8]
  6. ^ In contrast, the 1903 warrant stated "Hosier and Glover in Paris".[17]
  7. ^ In 1855, the Jury of the Paris world fair, where Charvet exhibited shirts and drawers,[18] noted that Paris had an "unquestionable supremacy"[19] in the field of shirtmaking. During the 1867 Paris fair, when Charvet exhibited shirts, drawers, vests and handkerchieves,[20] Paris had a "monopoly of luxury shirts".[19] The Report of the Jury of the 1878 Paris world fair confirms this: "One the first cares of foreigners arriving in Paris is to order Parisian shirts".[7]
  8. ^ When Charvet did not participate in the following Parisian world fair, the Jury deplored it had not added to the exhibition "the sparkle of its old fame which has never weakened and remains equal to itself".[21]
  9. ^ Charvet is actually the only remaining company of all the 19th century Parisian shirtmakers.
  10. ^ Sultan Abdul Hamid II was a "sumptuous"[22] customer of Charvet suits. He ordered some 40 costumes a year and trusted the taste of Charvet for the selection of the cloth.[23] Charvet "barely dared" send invoices to the sultan.[22] Some of his Charvet vests are on display at the Topkapi Palace.[23]
  11. ^ As expressed by Balzac, artists belonged from then on to the "triple aristocracy of money, power and talent".[24]
  12. ^ In 1903 a French magazine mocked Montesquiou's preparations for a trip to New York: To his secretary Yturri asking: "And Charvet? Is he ready?" Montesquiou answers:"Nobody in the world ever saw such things! Pinks, blues, lilacs, in silk, and in cobweb! Charvet is the greatest artist in the Creation."[29] In a letter to Montesquiou, Marcel Proust alludes to a caricature of Montesquiou examining fabrics at Charvet.[30] Montesquiou also offered to Verlaine a "very beautiful scarf" from Charvet, wearing which the poet had himself photographed when he tried to enter the académie française.[31]
  13. ^ According to his houkeeper recollections, Proust's "shirts and waistcoasts were from Charvet, he told me. What interested him in Charvet was the sign of a certain world, of a certain elegance".[34] He also spent long moments at Charvet in search of a perfect tone for his cravats, such as a "creamy pink".[35] Proust's tank tops (marcel in French) also came from Charvet.[36]
  14. ^ At the turn of the century, an American advertising called Charvet the "master-mind of French modes in shirtings"[40] and its international reputation for creating refined fabrics was strong enough to entice American stores to copy.[41]
  15. ^ The narrator of Marcel Proust's Remembrance of Things Past (1919), who, waiting for the appointed hour of his lunch engagement at Swann's house, whiles away his time "tightening from time to time the knot of [his] magnificent Charvet tie".[42]
  16. ^ In 1909, for the Chicago Tribune, Charvet and Henry Poole & Co were "authorities" who "not only keep abraist of the times but may be called pioneers in the matters of fashions for men.[43]
  17. ^ The French painter Maurice Lobre wrote in 1903 to Robert de Montesquiou that "Charvet wants to do marvels for you … because I know Charvet and he told me so. He is practising on me, making vests which are masterpieces from the back, the front, the top and the bottom. I have never been so barded with silk, I feel like a bunch of flowers".[29]
  18. ^ Charvet fancy waistcoats were introduced in the United States, towards the end of the 19th century, by Henry Clews and were afterwards also referred to as "Imandt Grand Prix" vests.[44]
  19. ^ Henry Clay Frick's silk-and-wool undergarments bore ornate monograms and discreetly revealed the Parisian haberdasher's name in the weave of the fabric.[45]
  20. ^ The Chicago Tribune reported in 1909 that Charvet was showing "scarf pins that match in color any scarf that may be bought and some have the same designs carried out in them done in enamel. There are also waistcoasts buttons to be worn with certain ties and there are sets of these, cufflinks, and pins, all of which exactly match.[47]
  21. ^ Charvet's notability even reached customers such as Al Capone[56] and Lucky Luciano.[57]
  22. ^ Some bold Art Deco ties which had belonged to John Ringling are on display at the John and Mable Ringling Museum of Art.[59]
  23. ^ Sarah Gibbings illustrates this point with the example of Sebastian Flyte, the hero of Evelyn Waugh's Brideshead Revisited, who makes his first entrance wearing a Charvet tie with a postage-stamp pattern.[63] (See below.)
  24. ^ The change started when Baron Rothschild came into the store and asked to see some shirting fabrics, one of which was pink. When M. Colban, following previous Charvet practice, advised against the color, the Baron retorted, "If not for me, who is it for?" Some time later, Nelson Rockfeller requested some shirt swatches be sent to New York. Bold stripes and unusual colors were sent and eventually selected. Colban had changed Charvet's policies as well as its role in the design process with the customer.[64]
  25. ^ Colban emphasised that "the essential hardest of all to accomplish in today's world of quick and easy pseudo solutions, is an atmosphere of 'yes' to the customer and, even more, a respect for that commitment",[67] re-iterating the focus of Charvet on its bespoke business.
  26. ^ Kennedy wore linen handkerchieves from Charvet[71] and had the labels of his Charvet shirts removed,[15] in order to avoid evocation of an upper-class attitude.[71] One of his Charvet made shirts is exhibited in the Checkpoint Charlie museum.[72]
  27. ^ Before acquiring its fame for silk knots since the early 20th century,[85] Charvet had developed in the 19th century jewel cufflinks with his neighbor, the jeweler Cartier, including, around 1860, the then "famous boutons hongrois".[86]
  28. ^ "Charvet is profoundly faithful to the soul of France" said Jean-Louis Dumas, a former CEO of Hermès.[95]
  29. ^ The allowance is lower for made to order shirts. the cuff is made more or less wide, depending if the customer wants his watch to remain hidden under the cuff or to show. According to a Charvet representative, many customers have two different types of shirts: those for evening wear, intended to be worn with a flat watch, and the others for day wear, with a thicker watch.[98]
  30. ^ Ready to wear shirts are made in the same place and with the same standards as bespoke. "We cannot ask people in the morning to work slow and then to work fast in the afternoon", says Jean-Claude Colban.[55]
  31. ^ Charvet ties' shimmer "has become so synonymous with the company that we call it the Charvet effect", says a retailer.[15]
  32. ^ Until the 1960s, nearly all Charvet ties were seven-fold. The company then decided an interlining could bring an improvement, helping protect the shape despite the pulling, and designed a proprietary interlining "which helps the silk keep its resilience and spring, but is not an onstruction when you tie a knot".[96]
  33. ^ During the same campaign, the Republican party spent $150,000 on dressing Sarah Palin "for the part of vice-president",[118] part of which was used on Charvet ties for her husband Todd.[119]
  34. ^ Despite its name, this book does not present an exhaustive list of all possible tie knots, which have been demonstrated to be only 85,[121] but also refers to bow ties, scarves and squares.[122]
  35. ^ Charvet has "long been revered for the attention it provides its clients."[132] The fact that the company does not communicate on its customers list[114] has been qualified as a sign of this level of service.[9]
  36. ^ Charvet achieved significant coverage in Irish media when it emerged that former Taoiseach Charles Haughey, then after nickmamed "Charvet Charlie",[133] had misappropriated over $50,000 of state funds while in office to purchase shirts and dressing gowns from Charvet, where the staff addressed him as "your excellency,[134] and had them delivered via the diplomatic "black box" system,[135] at a time when he was exhorting Irish citizens to "tighten their belts". This resulted in a surge of Irish visitors at the Paris store.[102] According to the Boston Globe, the conspicuous Irish visitors to the Charvet shop "pose for photographs outside the venerable shop, and sometimes venture inside to gawk at the crystal chandeliers, the oak paneling, the Oriental rugs and the cuff links in bowls scattered around the shop. And they pose indelicate questions about their former prime minister".[136]
  37. ^ Bernard-Henri Lévy, often referred to as BHL, is described as a "provocateur", a "showman", who "wears the mantle of polarizing intellectual quite happily along with made-to-measure clothing from French house Charvet".[137] His shirt style has become a signature,[138] but he says he "has no interest discussing the suavely unbuttoned garment that for his fans and his detractors alike has become synonymous with his name."[139] Nevertheless, his critics point to this unbuttoned white shirt "is an important element of BHL's TV and public images and it tells a lot about the man. If you tried it with your own shirt, the collar would sag. But BHL's shirts are specially designed by the famous shirt-maker Charvet, with collars that withstand the unbuttoning and never disappear under his jacket".[140]

Sources

  1. ^ a b c (in French) La ville lumière. Anecdotes et Documents historiques, ethnographiques, littéraires, artistiques, commerciaux et encyclopédiques. Paris, 25, rue Louis-le-Grand. 1909. p. 99. "La maison Charvet a été fondée en 1836 par M. Christofle Charvet, auquel a succédé en 1868 son fils M. Édouard Charvet, qui est encore aujourd'hui le chef de la maison avec ses trois fils comme collaborateurs." 
  2. ^ a b "Principaux Secteurs Économiques: Couture et mode: Quelques dates" (in French). Quid. http://www.quid.fr/2007/Principaux_Secteurs_Economiques/Quelques_Dates/2. Retrieved 2009-06-08. "1836: Christophe Charvet fonde une maison de chemises sur mesure." 
  3. ^ Masson, Frédéric (1894). Napoleon at Home: The Daily Life of the Emperor at the Tuileries. London: H. Grevel and co. 
  4. ^ Kleinert, Anne-Marie (2001) (in French). Le "Journal des Dames et des Modes" ou la conquète de l'Europe féminine (1797-1839). Stuttgart: Thorbecke. p. 86. http://users.physik.fu-berlin.de/~kleinert/kleinerta/kleinertab5/. Retrieved 2008-11-25. "Les maîtres de sa garde-robe étaient des connaisseurs en matière d'élégance." 
  5. ^ a b c d e f Gavenas, Mary Lisa (2008). Encyclopedia of Menswear. New York: Fairchild Publications. p. 86. ISBN 9781563674655. 
  6. ^ a b c Vergani, Guido; Franco Belli, Cristina Brigidini (1999) (in Italian). Dizionario della moda. Milano: Baldini & Castoldi. p. 152. ISBN 8880895850. "Christophe Charvet, nel 1838, apre in rue de Richelieu un negozio dove prende le misure, propone le stoffe. Nel retro, si tagliano e si cuciono le camicie. È il primo negozio del genere." 
  7. ^ a b (in French) Exposition universelle internationale de 1878 à Paris. Rapports du jury international. Groupe IV, class 37. Paris: Imprimerie nationale. 1880. pp. 124, 167. http://cnum.cnam.fr/fSYN/8XAE277-4.7.html. Retrieved 2008-11-25. 
  8. ^ a b c Martin-Fugier, Anne (1990) (in French). La vie élégante, ou, La formation du Tout-Paris, 1815-1848. Paris: Fayard. p. 335. ISBN 2213025010. 
  9. ^ a b c d e Gavenas, Marilise (February 12, 2007). "On the Right Bank; at the Storied House of Charvet, Luxury comes in Superabundance.". DNR. http://findarticles.com/p/articles/mi_hb4298/is_200702/ai_n18990445. Retrieved 2008-10-21. 
  10. ^ a b c Flusser, Alan (October 1982). "The Shirt Maker". TWA Ambassador. 
  11. ^ Sarmant, Thierry; Luce Gaume (2003) (in French). La Place Vendôme: art, pouvoir et fortune. Paris: Action artistique de la ville de Paris. p. 250. 
  12. ^ Perrot, Philippe (1996). Fashioning the Bourgeoisie: A History of Clothing in the Nineteenth Century. Princeton: Princeton University Press. p. 41. ISBN 0691000816. 
  13. ^ "Paris Fashions shows Luxury in New Shirs for Men". Chicago Tribune. September 29, 1909. http://pqasb.pqarchiver.com/chicagotribune/access/404643791.html?FMT=ABS&dids=404643791:404643791&FMTS=CITE:AI&type=historic&date=Sep+29%2C+1909&author=&pub=Chicago+Tribune&desc=Paris+Fashions+Show+Luxury+in+New+Shirts+for+Men.. Retrieved 2009-05-22. 
  14. ^ Vogely, Maxine Arnold (1981). A Proust Dictionary. Albany: Whitston Pub. Co. p. 144. ISBN 0878752056. 
  15. ^ a b c d e Kissel, William (December 2004). "Style: Paris Match". Robb Report. http://www.robbreport.com/archived-issues/Article.aspx?article=12755. Retrieved 2008-10-13. 
  16. ^ Ruppert, Jacques (1996) (in French). Le costume français. Paris: Flammarion. p. 304. ISBN 2081207893. "Le prince de Galles, futur Edouard VII, arbitre des élégances masculines à Londres et à Paris." 
  17. ^ London Gazette: no. 27512, p. 13, 2 January 1903. Retrieved on 8 December 2008.
  18. ^ Rondot, Natalis (1855) (in French). Catalogue officiel: Exposition des produits de l'industrie de toutes les nations, 1855. Paris: E. Panis. "2193 Charvet (Clir.l, a Paris, r. Richelieu, » — Chemises, caleçons, gilets de flanelle." 
  19. ^ a b c (in French) Exposition universelle internationale de 1889 à Paris. Rapports du jury international. Groupe IV, class 35. Paris: Imprimerie nationale. 1890. pp. 329, 356. http://cnum.cnam.fr/CGI/fpage.cgi?8XAE348.7/235/100/908/755/866. Retrieved 2008-11-25. 
  20. ^ (in French) Exposition universelle de 1867, Catalogue général. I. Paris: E. Dentu. 1867. p. 72. "Charvet (C.) à Paris, rue Richelieu, 93 - Chemises, caleçons, gilets et mouchoirs." 
  21. ^ (in French) Exposition universelle internationale de 1900 à Paris. Rapports du jury international Group XII, class 86. Paris: Imprimerie nationale. 1902. p. 605. http://cnum.cnam.fr/fSYN/8XAE577.2.html. Retrieved 2008-11-25. 
  22. ^ a b Tezcan, Hülya (1984) (in Turkish). A late 19th Century Tailor's Order-Book. Istanbul: Türkiye Turing ve Otomobil Kurumu. p. 53. "… Yıl bile "notunu" göndermekten çekinmeyen Charvet bana bir keresinde şöyle demişti : "Bu şahane müşteriden öyle kazandım ki son faturayı gönderme …" 
  23. ^ a b Ekdal, Müfid (1992). Kadıköy konakları. Istanbul: Sadberk Hanım Müzesi. p. 39. ISBN 97595473x. 
  24. ^ Balzac, Honoré (original 1830; 1981) (in French). Traité de la vie élégante. Pléiade. XII. Paris: Gallimard. pp. 211–257. ISBN 2070108503. 
  25. ^ Drake, Alicia (2001). A Shopper's Guide to Paris Fashion. Northamptom: Interlink Pub. Group. p. 30. ISBN 156656378X. 
  26. ^ Nowell, Iris (2004). Generation Deluxe: Consumerism and Philanthropy of the New Super-rich. Toronto: Dundurn Press. p. 137. ISBN 1550025031. 
  27. ^ Korner, Hans (1996) (in German). Dandy, Flaneur, Maler. Munich: W. Fink. ISBN 3770529316. 
  28. ^ Morand, Paul (1931). 1900 A.D.. New York: W. F. Payson. 
  29. ^ a b cited in Munhall, Edgar (1995). Whistler and Montesquiou: The Butterfly and the Bat. Paris: Flammarion. p. 145. ISBN 2080135775. 
  30. ^ Société des amis de Marcel Proust et des amis de Combray, ed (1957) (in French). Bulletin de la Société des amis de Marcel Proust et des amis de Combray. 7. 11. Combray. p. 294. "Dans la lettre n°66 de Proust à Robert de Montesquiou, il est question d'une caricature montrant ce dernier, qui se fait présenter des étoffes par Charvet." 
  31. ^ Bertrand, Antoine (1996) (in French). Les curiosités esthétiques de Robert de Montesquiou. Librairie Droz. p. 518. ISBN 9782600001076. 
  32. ^ [[Jean Cocteau |Cocteau, Jean]] (1912) (in French). La danse de Sophocle. Paris: Mercure de France. p. 133. "Charvet où l'arc-en ciel prend ses idées." 
  33. ^ Spencer, Charles; Philip Dyer, Martin Battersby (1974). The World of Serge Diaghilev. Washington: Regnery Publishing. p. 21. ISBN 0809283050. 
  34. ^ Albaret, Céleste (2003). Monsieur Proust. New York. p. 286. ISBN 1590170598. 
  35. ^ Pierre-Quint, Léon (1925) (in French). Marcel Proust: sa vie, son œuvre. Paris: Éditions du Sagittaire. p. 52. "Sous le col rabattu, il portait des cravates mal nouées ou de larges plastrons de soie de chez Charvet, d’un rose crémeux, dont il avait longuement cherché le ton." 
  36. ^ Clausel, Jean (2009) (in French). Le marcel de Proust. Roma: Portaparole. pp. 72-73. ISBN 9788889421727. 
  37. ^ Welles, Benjamin (1997). Sumner Welles: FDR's global strategist : a biography. New York: Palgrave Macmillan. p. 26. ISBN 9780312174408. 
  38. ^ "Business World". New York Times. October 3, 1914. http://query.nytimes.com/mem/archive-free/pdf?res=9E05E6D71638E633A25750C0A9669D946596D6CF. Retrieved 2008-10-21. "The full dress tie made of charvet material is a favorite at the present time and ties of this fabric can be purchased in white, pearl and black for dinner and evening wear." 
  39. ^ "Second Empire effects are seen". New York Times. October 5, 1913. http://query.nytimes.com/mem/archive-free/pdf?res=9F03EFDF1E3BE633A25756C0A9669D946296D6CF. Retrieved 2008-10-21. "[Charvet] always has the last word on shirts" 
  40. ^ Beaunash (March 9, 1912). "Advertisement of John David" (fee required). New York Times. 
  41. ^ advertising (January 24, 1900). "Men's Shirts to Order" (fee required). New York Times. "Charvet of Paris leads the Old World in the charm of the fabrics he has woven. We have his weaver working for us as well." 
  42. ^ Proust, Marcel. A l'ombre des jeunes filles en fleur. 1. http://www.gutenberg.org/etext/2998. "…tout en resserrant de temps à autre le nœud d'une magnifique cravate de chez Charvet…" 
  43. ^ "Again rumors of colored evening coats". Chicago Tribune. September 29, 1909. 
  44. ^ de Lyon Nicholls, Charles Wilbur (1975). The ultra-fashionable peerage of America. Manchester: Ayer Publishing. p. 37. ISBN 9780405069307. 
  45. ^ Jones Arbitman, Kahren; Kahren Hellerstedtand (1989). Clayton, the Pittsburgh home of Henry Clay Frick: art and furnishings. Pittsburgh: Frick Art Museum. p. 61. ISBN 9780822969051. 
  46. ^ Forman, Justus Miles (1910). Bianca's daughter. New York: Harper & Brothers. p. 135. "The pale tones of shirt and cravat and out-peeping pochette bespoke the genius of the well-known M. Charvet." 
  47. ^ {{ |cite news |title=Man may go limit in handkerchiefs ans ties |date=September 29, 1909 |work=Chicago Tribune }}
  48. ^ "Chemises de Charvet" (in French). L'Abeille de la Nouvelle-Orléans. December 1877. http://nobee.jefferson.lib.la.us/Vol-083/12_1877/1877_12_0056.pdf. Retrieved 2009-04-11. "Un vaste fonds de ces chemises Charvet vient d'être mis en vente par la maison [...] Il y en a pour toutes les tailles et pour tous les goûts avec ou sans cols." 
  49. ^ "Paris Offers Ecru Shirts". Boston Daily Globe. January 17, 1915. 
  50. ^ "Slick Chic". Time Magazine. November 08, 1948. http://www.time.com/time/magazine/article/0,9171,853355,00.html. Retrieved 2008-11-24. 
  51. ^ Tourlonias, Anne (1998) (in French). Raoul Dufy, l'œuvre en soie. Avignon: Barthelemy. p. 41. ISBN 2879230942. "Le 1er mar 1912, Raoul Dufy et Charles Bianchini signent le contrat." 
  52. ^ Raoul Dufy: Paintings, Drawings, Illustrated Books, Mural Decorations, Aubusson Tapestries, Fabric Designs and Fabrics for Bianchini-Férier, Paul Poiret Dresses, Ceramics, Posters, Theatre Designs. London: Arts Council of Great Britain. 1983. p. 106. 
  53. ^ Tuchscherer, Jean-Michel (1973) (in French). Raoul Dufy, créateur d'étoffes. Mulhouse: Musée de l'impression sur étoffes. p. 22. "Ce tissu peu courant était fabriqué par un ami de Monsieur Bianchini et fourni en particulier à Charvet - chemisier place Vendôme - qui en faisait des chemises, robes de chambre, etc." 
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  56. ^ Breslin, Jimmy (1991). Damon Runyon: A Life. Boston: Ticknor and Fields. p. 347. ISBN 0899199844. 
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  58. ^ Flusser, Alan (2002). Dressing the Man. New York: HarperCollins. p. 156. ISBN 0060191449. 
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  61. ^ "Ties Will Show Bolder Trend in Colors, Lines". Washington Post. September 23, 1936. "The new trend in necktie fabrics shows a strong leaning towards bolder color combinations and designs, many of them inspired by the French school of modern design. Some houses report the importance of large charvet and school patterns, breaking away from the small neat patterns of past seasons." 
  62. ^ Gibbings, Sarah (1990). The Tie. Trends and Traditions. New York: Barron's. p. 100. ISBN 0812061993. 
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  64. ^ Flusser, Alan (1981). Making the man. New York: Wallaby books. p. 190. ISBN 0671791478. 
  65. ^ Sheppard, Eugenia (July 17, 1978). "Shirtmaker Designs Collection for Women". Toledo Blade. http://news.google.com/newspapers?id=XAoVAAAAIBAJ&sjid=fQIEAAAAIBAJ&pg=4992,3581157. Retrieved 2009-06-09. 
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  68. ^ "Denis Colban" (in French). Libération. January 7, 2005. http://www.liberation.fr/vous/0101130000-denis-colban. Retrieved 2009-05-22. "Denis Colban, président de Charvet, [...] est décédé le 28 décembre à l'âge de 74 ans à la suite d'un arrêt cardiaque." 
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  73. ^ Noiret, Philippe (2007) (in French). Mémoire cavalière. Paris: Laffont. p. 7. ISBN 2221107934. 
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