Between 1874 and 1875 Worth’s sons, Jean-Philippe and Gaston-Lucien, officially joined the company which they went on to develop and expand. Jean was responsible for design and Gaston for business matters. By 1890 the founder had virtually retired from the business, and five years later in 1895 he passed away. In 1901 Gaston engaged the services of a talented young designer called Paul Poiret (1879-1944) to work alongside Jean. After two years working at Worth, Poiret established his own label and became famous for his oriental styles. In 1902 Worth expanded its operations by opening a London branch at 4 New Burlington Street, in the core of the capital’s elite dressmaking area.

The mid-to-late 1920s were boom years for the Parisian haute couture industry and the House of Worth expanded its operations. In 1926 a branch was opened at the fashionable seaside resort Biarritz, followed shortly after by another in Cannes.

Recognizing the increasingly busy lifestyles of their clients, the brothers introduced new ranges of instantly available, ready-made accessories and casual daywear. In London, the couture house moved to new premises at 3 Hanover Square and a sportswear boutique was opened at nearby 221 Regent Street.

By c1930 the mantle at Worth had been passed to the founder’s great grandsons, with Roger working as designer and his younger brother Maurice business manager. In 1936 the Worth’s sold the London house, which then merged with the London court dressmaker Reville & Rossiter. Mrs Charlotte Mortimer, a former mannequin at Reville, was appointed Director and Madame Elspeth Champcommunal was engaged as the new designer.

Champcommunal had formerly worked as the first editor of British Vogue (1916-22), ran her own fashion house in Paris and was also a practising artist.

Along with many of the Paris couture houses, Worth continued to function throughout the Second World War. In 1945 the London branch of Worth was acquired by Paquin, but continued to operate under its own name, as one of between between ten and twelve couture houses operating in London during the 1940s and 1950s. When Roger Worth retired c1952, Maurice became sole director. Designer Owen Hyde Clark, who had trained with Maggy Rouff in Paris and at Bradley’s in London, was appointed to create Worth’s ready-to-wear collections in 1953. The following year, Paquin also purchased the Paris House of Worth and, two years later, in 1956, the business was closed. The company archive was presented to London’s Victoria & Albert Museum. Worth (London) Ltd. ceased trading on December 29th 1967. Paquin sold the name Worth to Sydney Massin who launched Worth (London) Ltd. in 1968.

Perhaps more than any other design it is the crinoline that is inextricably associated with Worth. However, it was not a design that the couturier initially favoured. The Empress Eugenie, who was Worth’s most famous, prestigious and loyal client, adored it. And, what she wore other women emulated.

From 1856 the term crinoline was used to describe the new, lightweight, flexible cage structure, initially made from whalebone and eventually from sprung steel, which replaced cumbersome, layered and heavy horsehair (crin) petticoats. It was rumoured that after suffering a miscarriage, and keen to conceal her new pregnancy, the Empress implored Worth to adopt the crinoline. In his hands, the style became the height of chic.

 Worth’s crinoline gowns have been immortalised by the portraits of the Empress, and her ladies-in-waiting, painted by artists such as Franz Xaver Winterhalter. The crinoline remained dome-shaped until 1859, when Worth introduced a more ovoid design. Between 1862 and 1867 Worth reduced the size of the crinoline and in 1868 he designed dresses that were flat at the front, with the fullness swept round to the back: these gowns were supported at the rear by the new half crinoline or crinolette that Worth retained until 1873.

In 2010 the revived house of WORTH presented their first collection in Paris. Designer Giovanni Bedin presented modern, body-conscious; evening gowns inspired by the sculpted silhouette of the crinoline.

Worth attracted an illustrious international clientele, drawn from the royal and imperial households of France, Spain, Portugal, Russia, Austria, Germany, Sweden, Italy, Japan and Russia. By the 1860s a dress by Worth evidenced a woman’s discerning taste, her social status and wealth. It was a sartorial language that was understood worldwide.

Often, numerous orders were placed with identical deadlines from clients attending the same ball. The Grand Duchess Marie (1853-1920) sister of Tsar Alexander ll, regularly visited Worth with six of her ladies-in-waiting and in just one hour would place an order for one hundred dresses for herself and her attendants. After specifying their choice of colour, Worth decided upon the cut and the design. By developing a system of interchangeable pattern pieces, and unique fabrication, the couturier ensured that each dress was not only different but completed two weeks later.

Worth’s prices were staggeringly high and often shocked even his most wealthy clients. In 1867 Miriam Folline Squier, an American client wore a purple gown of such magnificence that it was reported to have cost $20,000! In the 1890s, Worth told a reporter that ‘It is impossible to make a dress itself worth above a certain value, but the trimming can increase the cost to any amount. Suppose that you string solitaire diamonds around the corsage? Gold and silver thread and jewels make heavy cost. Several years ago we were paid $24,000 by a Peruvian lady for a single gown, but the laces alone cost $23,600. A cloak we sold for $9,000 had $2,800 value of fur.’

From early in his career Worth recognised that the latest fashions performed on the stage did much to attract female audiences and, once broadcast as front page news around the world, fuelled the fashion choices made by countless women. The same is of course true today and clients such as Lady Gaga, Kate Hudson, Cheryl Cole and Kate Moss have captured worldwide attention wearing designs by the House of WORTH.

In 1847, after struggling to find work and learn the language, Worth gained a position as a selling clerk at Maison Gagelin-Opigez et Cie, purveyor of luxury silks, shawls and mantles (capes). The young man demonstrated a flair for designing, using the firm’s materials and became a highly business valuable asset. In 1855 Gagelin-Opigez were awarded the prestigious first prize at the Exposition Universelle for a lavish court train that Worth had designed.

Following his marriage to fellow worker Marie Augustine Vernet (1825-98), Worth designed dresses for her to wear to work. They attracted admiration from clients who enquired if they might order similar models for themselves. Worth’s moment had arrived and – at the peak of France’s Second Empire – it was altogether timely.

By 1857 Worth had acquired the knowledge and possessed the creative talent to start his own business. He entered into a partnership with Otto Gustaf Bobergh (1821-81), a colleague from another company, who provided the financial capital required. They rented first floor premises at 7 rue de la Paix, a quiet residential street in central Paris, with an initial staff of 20 workers. It was not long before this street was to become the most famous fashion address in the world. Worth furnished the premises along the lines of a private residence to ensure maximum comfort for his clients. And, it is for this reason that elite fashion firms became known as ‘houses’.

Although translated literally haute couture means fine sewing, implicit is a supreme quality of innovative design and top-level craftsmanship. It is widely accepted that Charles Frederick Worth was the first haute couturier. Before Worth, it was highly unusual for a man to design dresses for women. Traditionally, women had purchased fabrics and trimmings and then discussed their style requirements with their female dressmaker. In contrast, Worth supplied all materials and offered a complete clothing service, providing clothing and accessories for all occasions.

In 1847, after struggling to find work and learn the language, Worth gained a position as a selling clerk at Maison Gagelin-Opigez et Cie, purveyor of luxury silks, shawls and mantles (capes). The young man demonstrated a flair for designing, using the firm’s materials and became a highly business valuable asset. In 1855 Gagelin-Opigez were awarded the prestigious first prize at the Exposition Universelle for a lavish court train that Worth had designed.

Following his marriage to fellow worker Marie Augustine Vernet (1825-98), Worth designed dresses for her to wear to work. They attracted admiration from clients who enquired if they might order similar models for themselves. Worth’s moment had arrived and – at the peak of France’s Second Empire – it was altogether timely.

By 1857 Worth had acquired the knowledge and possessed the creative talent to start his own business. He entered into a partnership with Otto Gustaf Bobergh (1821-81), a colleague from another company, who provided the financial capital required. They rented first floor premises at 7 rue de la Paix, a quiet residential street in central Paris, with an initial staff of 20 workers. It was not long before this street was to become the most famous fashion address in the world. Worth furnished the premises along the lines of a private residence to ensure maximum comfort for his clients. And, it is for this reason that elite fashion firms became known as ‘houses’.

Although translated literally haute couture means fine sewing, implicit is a supreme quality of innovative design and top-level craftsmanship. It is widely accepted that Charles Frederick Worth was the first haute couturier. Before Worth, it was highly unusual for a man to design dresses for women. Traditionally, women had purchased fabrics and trimmings and then discussed their style requirements with their female dressmaker. In contrast, Worth supplied all materials and offered a complete clothing service, providing clothing and accessories for all occasions.

Charles Frederick Worth was born in Lincolnshire, England. When he was eleven years old his family fell on hard times, and he was apprenticed to a printer. He disliked the work and found alternative employ with a local haberdasher, selling fabrics, trimmings, and a few ready-made fashion items such as shawls. Here he found his metier. In the Spring of 1838, the ambitious youth (he was just thirteen years old) moved to London, the fashion capital of England. It is variously reported that he found an apprenticeship with the elegant department store Swan & Edgar, or the luxury silk mercer, Lewis, and Allenby.

During his precious leisure time, Worth explored London’s art galleries and became fascinated by historical painted portraiture. In particular, he was entranced by the sumptuous materiality and stylish – often structured and overtly feminine cut – of the dresses worn by the women depicted. He became convinced that these were far superior to prevailing trends: he retained his passion for historical fashion references throughout his career.

It was not long before Worth set his sights further afield, this time to Paris, the international capital of luxury goods. In 1845, with only minimal savings, he set sail for the city of light where he was to become the most famous fashion designer in the world.

The luxury fashion label WORTH takes its name from the company founder, Englishman Charles Frederick Worth (1825-1895), who established his Parisian haute couture house in 1857. More than any other designer, Worth was instrumental in establishing the foundations of today’s global fashion industries. In fact, his influence was so seminal that he has oft been described as the ‘Father of Haute Couture’ and the period of France’s Second Empire (1808-73), in which his business flourished, as ‘The Age of Worth’.