Handmade with Love in France

The prevailing myth is that couture apparel costs more because a designer's name is attached, but the reality is that the clothing takes longer to make, no matter how high the mark-up. Director Julie Georgia Bernard profiles three French craft houses that bring designer concepts to life. In all cases, the artisans stress that they cannot rush their work, while also noting that they receive little respect (they miss the days when they dealt directly with designers rather than brand representatives). Gérard Lognon specializes in pleats that have adorned runway models for Chanel and Dior. He named one of his workrooms after Hermés, since he's pleated millions of their carré scarves. Lognon is so firmly rooted in the past that he brags about the number of cigarettes he smokes and takes pride in his ignorance of computers (conducting all of his business in person or over the phone). Lorenzo Ré constructs hats for designers such as Philip Treacy. For each one, Ré creates wooden molds that he drills and sands by hand. Bruno Légeron, a fourth-generation craftsman, applies feathers and fake flowers to clothing for Lanvin and Balenciaga. He has managed Maison Légeron for 35 years, although some of his employees have been with the business even longer. His is one of three such houses in Paris, where there used to be dozens. All three of Bernard's subjects lack successors, and they worry about the future of their ateliers. Some of their peers have already sold their businesses to Chanel and Dior, but at the expense of autonomy. According to Lognon, if he sold out to Chanel, he would “cease to exist.” An interesting niche portrait of a little-seen aspect of haute couture, this is recommended. Aud: C, P. (K. Fennessy)