Pierre Balmain Evening gown and sketch, Bergdorf Goodman custom salon

The sketch above was used by Bergdorf Goodman’s couture salon to market line-for-line copies of couture samples, such as this dress by Pierre Balmain. If Bergdorf’s received orders for twelve copies of a particular sample, it was considered successful; eighteen to twenty orders were considered exceptional.

Dress: Cream silk satin, black velvet, 1960, France, 84.103.5, gift of Mrs. Roger Tuteur

Sketch: Bergdorf Goodman custom salon, sketch of a Pierre Balmain dress, Fall 1951, Fashion Institute of Technology|SUNY, FIT Library Special Collections and FIT Archives

eBay X CFDA “You Can’t Fake Fashion” campaign

eBay and the Council of Fashion Designers of America have joined forces to “raise awareness against counterfeit goods and celebrate original design within the fashion industry.” Learn more about the campaign at eBay and CFDA.

Catherine Malandrino, “You Can’t Fake Fashion” tote, vinyl, cotton canvas, 2013, USA, 2014.37.1, gift of eBay

Jean-Baptiste Huet L’Hommage de L’Amérique á la France toile de Jouy and copy

Oberkampf, a renowned French textile factory, manufactured this original toile de Jouy as well as its less expensive copy. The difference in quality between the two is obvious. The original toile, in the top portion of the photo, shows a wealth of greater detail, especially in the cloud, the armor, and the horse.

Printed cotton, circa 1785-1790, France, 82.205.1A and 82.205.2, gift of Mrs. Pierre Bedard

Yohji Yamamoto Dress

The new “YY” logo that Yohji Yamamoto debuted with his fall 2007 runway collection (seen on this dress) is remarkably similar to the well-known Louis Vuitton logo. While Yamamoto’s logo did not cause confusion among consumers, it did flirt with trademark infringement.

Silk, Fall 2007, Japan, 2007.51.1, museum purchase

Yves Saint Laurent “Mondrian” dress and unauthorized copies

Yves Saint Laurent’s “Mondrian” dress is one of the most famous examples of a designer “borrowing” from the world of fine art. Saint Laurent strategically placed each individual shape on this dress, in order to achieve what Harper’s Bazaar described as “assertive abstraction, a semaphore flag, sharply defined in crisp white jersey, perfectly proportioned to flatter your figure.”

Pictured left: Yves Saint Laurent “Mondrian” dress
Wool jersey, 1965, France, 95.180.1, gift of Igor Kamlukin from the Estate of Valentina Schlee

Pictured right:
In the center, an authentic Yves Saint Laurent “Mondrian” dress.

On the left: Unauthorized copy of YSL’s “Mondrian” dress
Wool, circa 1966, USA, P91.51.6, museum purchase

On the right: Phil Jacobs, unauthorized copy of YSL’s “Mondrian” dress
Cotton duck, braid, circa 1966, USA, P91.51.7, museum purchase

Cheap and Chic by Moschino Suit

Franco Moschino recreated Roy Lichtenstein’s painting Girl with Ribbon Hair on this suit. To avoid any copyright violations, he requested permission from the artist. Yet Moschino gives the suit a personal flair by using an Italian translation of “Tomorrow is another day” in the speech bubble.

See the painting on the Lichtenstein foundation website.

Acetate and rayon blend, rayon, 1991, Italy, 2014.8.1, museum purchase

Brian Lichtenberg Studio “Homiés” ensemble

This “Homiés” ensemble is a sly parody of the Hermès logo. Drawing on the Latin lowrider subculture in South Central, Los Angeles, Brian Lichtenberg replaced Hermès’s carriage attached to a horse with a truck on hydraulics. This collection has raised debate among lawyers, scholars, and the press regarding trademark infringement and parody as a protected form of speech.

Cotton and polyester blend, polyester knit, 2014, USA, 2014.39.1, gift of Brian Lichtenberg Studio

Original “Little Horses” Dress, Madeleine Vionnet

Installation view, “The Master Touch of Lesage” exhibition, 1987, Museum at FIT

Detail, Gabrielle Chanel day suit and licensed copy

Detail, Gabrielle Chanel day suit and licensed copy

Detail, Licensed copy of a Chanel day suit

Detail, Gabrielle Chanel day suit and licensed copy

Detail, Gabrielle Chanel day suit and licensed copy

Detail, Gabrielle Chanel day suit and licensed copy

Detail, Gabrielle Chanel day suit and licensed copy

Detail, Gabrielle Chanel day suit and licensed copy

Detail, Gabrielle Chanel day suit and licensed copy

Detail, Gabrielle Chanel day suit and licensed copy

Detail, Gabrielle Chanel day suit and licensed copy

Detail, Gabrielle Chanel day suit and licensed copy

Detail, Gabrielle Chanel day suit and licensed copy

Detail, Gabrielle Chanel day suit and licensed copy

Detail, Gabrielle Chanel day suit and licensed copy

While visiting the United States in 1913, Paul Poiret discovered unauthorized copies of his designs—including his label—selling for as little as $13.00. Fashion designs were not protected by copyright in the U.S., so he trademarked his label. However, despite such efforts by Poiret and others, more than two million fake couture labels had been sewn into garments by 1914.

Left: Paul Poiret evening dress, polychrome metallic brocade, metallic lace, circa 1927, France, 74.36.27, gift of Mrs. Katheryn Colton

Right: Paul Poiret evening coat (authorized reproduction), silk, 1917, France, 2014.40.1, museum purchase

The tiered effect on the dress at left was achieved using five horizontal rows
of scalloped silk taffeta. Jeanne Lanvin created an even more elaborate effect by sewing more than 300 squares of silk taffeta on the bias to a layer of silk tulle. Lanvin used this technique in a number of dresses during 1928.

Right: Jeanne Lanvin evening dress, silk taffeta, silk net, 1928, France, 2013.5.2, museum purchase

Left: Evening dress, silk taffeta, filet lace, 1927, USA, 78.237.7, gift of Anna Hoss

Left: Evening dress, Rayon crepe, 1933-1935, USA, 2003.102.1, anonymous donor

This dress and the sketch on the wall at right were registered with the Fashion Originators’ Guild of America. This organization of manufacturers refused to do business with any retailer selling knockoffs. Unfortunately, the Federal Trade Commission cited the Guild for “eliminating the right to free competition,” and it disbanded in 1941.

Right: Reproduction of Claire McCardell’s “Monastic” dress, wool bouclé, 1972, USA, 72.54.2, gift of Bessie Sustersic for the McCardell Show

Claire McCardell’s versatile, lightweight dress was manufactured by Townley Frocks, Inc. It was such a hit that it sold out within 24 hours of its initial release in 1938. Fashion historian Kohle Yohannan says that “copies of the Monastic [or ‘Nana’] dress were soon filling the stores faster than Townley could produce the original.” The company filed multiple lawsuits against copyists and placed warnings in newspapers (see right wall).

On wall: The Fashion Originators’ Guild of America registered sketch, August 1, 1933 & Advertisement, newspaper unknown, October 13, 1938
Both courtesy of Fashion Institute of Technology|SUNY, FIT Library Special Collections and FIT Archives

Each season, buyers from Bergdorf Goodman traveled to Paris to purchase 80-100 samples from various couture houses. Bergdorf’s was known for creating the highest quality copies by using the same couture fabrics as the original and fitting each client three times to ensure a proper fit. The quality of Bergdorf’s construction is evident in the structured silk satin bodice of this dress.

Left: Licensed copy of Pierre Balmain’s Angel evening dress, created by Orcilia, tulle, feathers, 1946-1947, Cuba, 80.304.1, gift of Molly Milbank

Right: Bergdorf Goodman Custom Salon, licensed copy of a Pierre Balmain evening dress, silk satin, coq feathers, 1949, USA, 91.244.1, gift of Barbara Louis

On wall: Bergdorf Goodman Custom Salon sketches, 1950-1952, Fashion Institute of Technology|SUNY, FIT Library Special Collections and FIT Archives

Christian Dior commissioned chiné velour au sabre textiles for several of his collections. This luxury fabric is created by first handdying the warp threads to create the blurred effect referred to as chiné. Then, certain parts of the silk satin are hand-picked, using a saber tool to create the velvet pile.

Center left: Christian Dior, evening coat, chiné velour au sabre, circa 1951, France, 91.121.3, gift of Mrs. Sylvia Slifka

For her cocktail dress, American designer Carrie Munn used a French textile similar to the one in the Christian Dior coat at left. The raised velvet surface of the ciselé fabric was created by cutting loops of silk. The press often favorably compared Munn’s work to that of Dior and Cristóbal Balenciaga. Her celebrity clientele included Mrs. Elizabeth Parke Firestone, wife of the tire mogul.

Center right: Carrie Munn cocktail dress, chiné ciselé velvet, circa 1955, USA, 93.80.9, gift of Mrs. Harry W. Lunger

Demand for Christian Dior’s “New Look” collection was so high that unauthorized copies of his silhouette proliferated. New York designer Nettie Rosenstein gave her version a pragmatic interpretation using seven yard of fabric, compared to Dior’s fifteen. “It’s what you leave off a dress that makes it smart,” Rosenstein said.

Left: Nettie Rosenstein, unauthorized copy of a Christian Dior dress, silk and wool faille, 1947, USA, 74.135.8, gift of Mrs. Janet Chatfield-Taylor

Certain elements in this licensed copy differ from those of the original couture dress, such as a synthetic blend of satin and pinked seams that were hand-overcast in the original. Department store reps who attended the Paris couture shows paid an entry fee, referred to as a “caution.” The caution went toward the purchase of a couture sample and the license to copy it.

Right: I. Magnin and Lord & Taylor, Licensed copy of Christian Dior’s “Columbine” evening dress, rayon and cotton satin, 1947, USA, 91.69.4, gift of Fay Smith

Left to right:

Jacques Fath for Joseph Halpert cocktail dress, silk satin, 1952, USA, 2013.19.1, museum purchase

Adaptation of a Jean Dessès coat, brushed wool, plastic, circa 1950, USA, 70.57.101, gift of Mr. Rodman A. Heeren

La Boutique, licensed copy of a Jacques Fath dress, wool crepe, silk taffeta, 1950, Italy, 71.213.24, gift of Sally Cary Iselin

I. Magnin & Co., licensed copy of a Christian Dior dress, silk taffeta, 1951, USA, 71.265.11, gift of Doris Duke

Bonwit Teller, licensed copy of a Christian Dior evening dress and shrug, silk taffeta, circa, 1955, USA, 72.81.4, gift of Doris Duke

“Balenciaga was notorious for his disdain of the press . . . all of whom could be suspect [of copying],” said fashion historian Alexandra Palmer. Balenciaga banned the press from his spring 1956 show for one month, as did his friend Givenchy, making it possible for them to offer their private clients and commercial buyers an exclusive preview. Yet despite the delay, their designs were knocked off before the original creations were released.

Left: Cristóbal Balenciaga cocktail dress, silk faille, circa 1956, France, 82.208.3, gift of David Biderman

Right: Hubert de Givenchy cocktail dress, tissue taffeta, lace, 1956, France, 2006.35.1, gift of Francine Gray

Left to right: Emilio Pucci dress, silk jersey, glass beads, circa 1960, Italy, 2005.38.1, gift of Elaine Stone

Pierre Cardin skirt, wool, circa 1960, France, 79.133.5, gift of Helen C. Ziegler

Pierre Cardin sent shock waves through Paris in 1959 when he became the first couturier to launch a ready-to-wear boutique in a department store. This was such a radical departure from the couture system that Cardin was expelled from the Chambre Syndicale, yet he continued to expand his empire by unabashedly licensing his name. To date, Cardin has over 700 licenses.

Andre Courrèges dress and jacket, wool gabardine, 1965, France, 77.183.3, gift of Ruth Sublette

In 1965, Andre Courrèges temporarily closed his couture house because he was frustrated by widespread copying of his designs. He reopened in 1967—with the addition of a ready-to-wear collection called “Couture Futures.”

Yves Saint Laurent Rive Gauche, safari jacket, cotton, 1968, France, 85.46.3, gift of Mrs. Alida Miller-Frisch

In 1966, couturier Yves Saint Laurent opened his ready-to-wear boutique Rive Gauche (Left Bank). This marked the acceptance of ready-to-wear in France, a response very different from the backlash Pierre Cardin received when he made a similar move only seven years earlier. Saint Laurent’s safari jacket was sold in his boutique, visible behind him in the photo at right.

In 1965, Hubert de Givenchy designed a ready-to-wear collection exclusively for Lord & Taylor. It was based on his couture garments and was made at his atelier in Paris. Givenchy often used double-faced silk satin in his couture collections. The fabric in this coat creates volume as it bestows luxury.

Left: Pierre Balmain evening gown, cream silk satin, black velvet, 1960, France, 84.103.5, gift of Mrs. Roger Tuteur

Right: Lord & Taylor ready-to-wear reproduction of a Givenchy evening coat, slubbed silk satin, 1965, France, 75.125.6, gift of Jane Stark

Installation view

From left: Matlick Zelinka licensed copy of a Chanel suit, wool tweed, silk, braid, 1960, France, 71.245.1, gift of David Zelinka

Jean-Louis Scherrer three-piece suit, wool tweed, silk, metal, circa 1964, France, 2014.15.24, gift of Cristina Noble

Gabrielle “Coco” Chanel three-piece suit, wool and metallic tweed, 1963-1964, France, 80.13.1, gift of Ms. Georges Gudefin

Adolfo three-piece suit, wool bouclé knit, silk, 1972, USA, 93.82.9, gift of Adolfo

Gabrielle “Coco” Chanel suit, wool knit, cotton, metal, 1970, France, 87.139.7, gift of Mrs. Walter Eytan

Karl Davis rain suit, embossed vinyl, brass, fall 1986, USA, 89.148.1, gift of Mr. & Mrs. Lembert Davis

Copies ranging from dresses to boots popped up in the wake of Yves Saint Laurent’s 1965 collection. In Saint Laurent’s original “Mondrian” dress, the rectangles and grid lines are separate pieces that have been sewn together. In these copies, only the colored squares were applied separately, and a black braid was top-stitched to create the grid pattern.

Left to right: Boots, vinyl, circa 1966, USA, P91.11.1, museum purchase

Unauthorized copy of Yves Saint Laurent’s “Mondrian” dress, wool, circa 1966, USA, P91.51.6, museum purchase

Yves Saint Laurent “Mondrian” dress, wool jersey, 1965, France, 95.180.1, gift of Igor Kamlukin from the Estate of Valentina Schlee

Phil Jacobs, unauthorized copy of Yves Saint Laurent’s “Mondrian” dress, cotton duck, braid, circa 1966, USA, P91.51.7, museum purchase

René Magritte’s painting, The Son of Man (1964), depicts a man in a bowler hat and suit with a green apple covering his face. Shortly after The Son of Man was first shown, Italian designer Krizia referenced it in a sequin-appliquéd sweater. Almost a decade later, designers continued to draw on Magritte’s surreal imagery. The dress from Bloomingdale’s has a repeat pattern based on his 1966 painting, Decalcomania.

Center: Krizia sweater, wool, sequins, circa 1966, Italy, 87.96.2, gift of Joan Seifter.
Bloomingdale’s Young East Side Shops dress, cotton jersey, circa 1972, USA, 93.165.1, gift of Dorothy Twining Globus

Andy Warhol began painting portraits of Campbell’s soup cans in 1962. Fortunately, the Campbell’s Soup Company looked upon this, not as copyright infringement, but as a form of free publicity. In fact, Campbell’s went full circle by creating this promotional dress that references Warhol. One could purchase the dress by mailing in $1.00 and two soup can labels.

Right: “The Souper Dress,” printed cellulose cotton, 1966-1967, USA, P90.87.1, museum purchase

Installation view

Franco Moschino used wit and humor in his designs to comment on the fashion industry. He sometimes crossed the line, however, prompting lawsuits from other designers. The “On” and “Off” print on this suit can be interpreted on a number of levels.

Left: Moschino suit, rayon, wood, 1990, Italy, 2009.1.4, museum purchase

In 1988, Moschino said, “I think we’ve been successful because we’re not trying to be chic . . . people say [we’re] not very refined. But just go out on the street and see how unchic is mankind.” That same year, Moschino started a less expensive diffusion line that he named Cheap and Chic. His playful aesthetic is evident in this dress that resembles a man’s double-breasted tuxedo jacket with tails.

Right: Cheap and Chic by Moschino dress, rayon crepe, 1992, Italy, 2004.23.1, anonymous donor

Left to right: Vivienne Tam suit, polyester jacquard, ribbon, 1995, USA, 95.82.5, gift of Vivienne Tam

Cheap and Chic by Moschino suit, acetate and rayon blend, rayon, 1991, Italy, 2014.8.1, museum purchase

Perry Ellis (Marc Jacobs) “The Oscar Skirt,” cotton organdy, paint, 1991, USA, 92.26.1, gift of Perry Ellis Inc.

The Oscar statuettes that adorn this skirt were hand-painted from sketches by Marc Jacobs, as were the filmstrips featuring famous actors. After Cindy Crawford wore the skirt on the runway in New York, Perry Ellis, Inc. was threatened with a lawsuit for copyright and trademark infringement by the Academy of Motion Picture Arts and Sciences.

Mike Bidlo man’s suit, paint, tweed, 1982, USA, 88.12.1, gift of Mike Bidlo

“Appropriationist” artist Mike Bidlo used Jackson Pollock’s “splatter” painting technique to decorate this suit. Bidlo is known for creating exact replicas of paintings by Picasso, Matisse, Warhol, and Duchamp. His 1982 exhibition featuring reproductions of Pollock’s drip paintings generated much debate about the originality of Bidlo’s work.

Installation view

Installation view

Center: Zara ensemble: jacket, skirt, sweater, boots. Cotton, wool, leather, synthetics, fall 2013, Spain, 2013.70.1, museum purchase

This fast fashion ensemble from Zara is a knockoff from Céline’s fall 2013 collection. Unlike copyists of the 20th century, who relied on actual garments, manufacturers now have instant, digital access to the latest collections, allowing them to replicate a look and have it in stores within two weeks. The launch of Style.com in September, 2000, provided anyone with an internet connection front row access to fashion shows.

In 2012, luxury brand Yves Saint Laurent underwent a name change, dropping the “Yves.” Online retailer What About Yves designed this parody using the same font, size, and color as the trademarked logo. Fashion historian Valerie Steele says, “The cleverness varies . . . If a reference is too insider, it seems almost Masonic. If it’s too open, everybody gets it and it’s not seen as cool. There’s a sweet spot.”

Center right: What About Yves T-shirt, cotton, gold foil, 2013, USA, 2014.42.1, gift of What About Yves www.whataboutyves.com

In Jeremy Scott’s first collection for Moschino, he furthered the brand’s reputation for witty commentary by reinterpreting McDonald’s iconic golden arches. The concept of authorized “brand-jacking” has been used to describe the trend of designers appropriating famous logos. Scott sidestepped charges of trademark infringement by requesting permission from McDonald’s.

Right: Moschino ensemble, wool and cashmere blend, leather, fall 2014, Italy, 2014.46.1, gift of Moschino

Christian Louboutin Pensee shoes

Counterfeit Christian Louboutin Pensee shoes

Detail, Counterfeit and Original Christian Louboutin Pensee shoe

Detail, Counterfeit and Original Christian Louboutin Pensee shoe

Detail, Counterfeit Christian Louboutin Pensee shoe

Detail, Counterfeit Christian Louboutin Pensee shoe

Detail, Christian Louboutin Pensee shoe

Detail, Christian Louboutin Pensee shoe

Counterfeit authenticity card

Gabrielle “Coco” Chanel 2.55 bag

Counterfeit Chanel 2.55 bag

Detail, Gabrielle “Coco” Chanel 2.55 bag

Detail, Counterfeit Chanel 2.55 bag

Interior detail, Gabrielle “Coco” Chanel 2.55 bag

Interior detail, Counterfeit Chanel 2.55 bag

Interior detail, Gabrielle “Coco” Chanel 2.55 bag

Interior detail, Counterfeit Chanel 2.55 bag

Detail, Gabrielle “Coco” Chanel 2.55 bag

Detail, Counterfeit Chanel 2.55 bag

Detail, Counterfeit Chanel 2.55 bag

Detail, Counterfeit Chanel 2.55 bag

Detail, Fendi Baguette bag

Detail, Fendi Baguette bag

Detail, Fendi Baguette bag

Detail, Fendi Baguette bag

Detail, Fendi baguette bag

Detail, Label of The House of Worth afternoon Dress

Dress: Silk velvet, chenille, chiffon, 1903, France, 67.127.1, gift of Mary Elizabeth Fogarty

Paul Poiret evening coat (authorized reproduction)

An American client asked Paul Poiret, “Can a woman whose budget is not limitless hope to be elegant?” He responded by designing a ready-to-wear collection that sold in major American cities. These more affordable garments were minimalistic, but often had hints of couture detailing, such as the scalloping on the shoulder of this coat.

Silk, 1917, France, 2014.40.1, museum purchase

Detail, label of Paul Poiret evening coat (authorized reproduction)

Coat: Silk, 1917, France, 2014.40.1, museum purchase

Licensed copy of Pierre Balmain’s Angel evening dress
Created by Orcilia

The cascading, hand-appliquéd feathers on this dress attest to the extraordinary craftsmanship associated with Pierre Balmain’s haute couture designs. However, this licensed copy was created by Orcilia, a Cuban department store. Cuba was the second largest importer of couture, after the United States.

Tulle, feathers, 1946-1947, Cuba, 80.304.1, gift of Molly Milbank

Detail, Label of Licensed copy of Pierre Balmain’s Angel evening dress, created by Orcilia

Dress: Tulle, feathers, 1946-1947, Cuba, 80.304.1, gift of Molly Milbank

Bergdorf Goodman Custom Salon, licensed copy of a Pierre Balmain evening dress

Silk satin, coq feathers, 1949, USA, 91.244.1, gift of Barbara Louis

Detail, label of Bergdorf Goodman Custom Salon, licensed copy of a Pierre Balmain evening dress

Dress: Silk satin, coq feathers, 1949, USA, 91.244.1, gift of Barbara Louis

In 1934, when Hortense Odlum, president of Bonwit Teller, opened the Salon de Couture, she said, “I insisted that we have the facilities to create exquisite gowns.” The silk taffeta on this made-to-order evening dress has been draped to create a cocoon-like shape.

Left: Bonwit Teller, Licensed copy of a Christian Dior evening dress and shrug, silk taffeta, circa 1955, USA, 72.81.4, gift of Doris Duke

Typically, the interior structure of a Christian Dior couture evening dress relies on metal spiral boning and petticoats. The New York boutique Mignon eliminated these elements when creating this licensed copy. Although boutiques purchased couture samples, Dior struggled with protecting his designs. By 1953, he was averaging about 40 lawsuits a year against illegal copyists.

Right: Mignon, Licensed copy of a Christian Dior evening dress, silk organza, silk satin, circa 1955, USA, 72.81.3, gift of Doris Duke

Detail, label of Bonwit Teller licensed copy of a Christian Dior evening dress and shrug

Dress and shrug: Silk taffeta, circa 1955, USA, 72.81.4, gift of Doris Duke

Detail, Label of Mignon licensed copy of a Christian Dior evening dress

Dress: Silk organza, silk satin, circa 1955, USA, 72.81.3, gift of Doris Duke

A twist of the red and green, striped silk fabric on this hostess dress forms a belt and creates a decorative drape. In 1949, couturier Jean Dessès designed a collection of American, at-home lounge wear for Raymodes Negligees. Throughout the 1950s and 1960s, European couturiers continued to license their names to American manufacturers.

Left: Jean Dessès for Raymodes Negligee hostess dress, silk, circa 1950, USA, 75.78.7, gift of Sarah Tomerlin Lee

Charles James constructed the bodice of this ready-to-wear dress using his “quartered torso” couture technique. Hand-appliquéd tassels enhance its novelty. From 1952-1954, James licensed his designs to Samuel Winston—until he sued the firm for creating unlicensed copies.

Right: Samuel Winston by Charles James cocktail dress, silk faille, tassels, 1952-1954, USA, 2010.27.1, gift of Judy Wada and Edward Weisberger

Detail, label of Jean Dessès for Raymodes Negligee hostess dress

Dress: Silk, circa 1950, USA, 75.78.7, gift of Sarah Tomerlin Lee

Detail, label of Samuel Winston by Charles James cocktail dress

Dress: silk faille, tassels, 1952-1954, USA, 2010.27.1, gift of Judy Wada and Edward Weisberger

Jacques Fath for Joseph Halpert Cocktail dress

Couturier Jacques Fath expanded his business in 1948 by signing a contract with American manufacturer Joseph Halpert. Soon, Fath began traveling to New York twice a year to design distinctive ready-to-wear collections especially for his American clients. The fullness of the silk satin skirt shows that luxury was not compromised in his ready-to-wear designs.

Silk satin, 1952, USA, 2013.19.1, museum purchase

Detail, label of Jacques Fath for Joseph Halpert Cocktail dress

Dress: Silk satin, 1952, USA, 2013.19.1, museum purchase

Evening dress registered with the Fashion Originators Guild of America

Rayon crepe, 1933-1935, USA, 2003.102.1, anonymous donor

Detail, Label of Evening dress registered with the Fashion Originators Guild of America

Dress: Rayon crepe, 1933-1935, USA, 2003.102.1, anonymous donor

Packaging, Counterfeit Louis Vuitton wallet

Detail, Counterfeit Louis Vuitton wallet

Detail, Counterfeit Louis Vuitton wallet

Counterfeit Louis Vuitton wallet

Vinyl, 2007-2008, Japan, 2008.10.1, gift of Sarah G. Wolfe

Counterfeit hang tag from Counterfeit Louis Vuitton (Takashi Murakami) Cerises Mini HL bag

Counterfeit hang tag from Counterfeit Louis Vuitton (Takashi Murakami) Cerises Mini HL bag

Detail, Counterfeit Louis Vuitton (Takashi Murakami) Cerises Mini HL bag

Detail, Counterfeit Louis Vuitton (Takashi Murakami) Cerises Mini HL bag

Detail, Counterfeit Louis Vuitton (Takashi Murakami) Cerises Mini HL bag

Louis Vuitton (Takashi Murakami) Speedy 30 bag

Printed canvas, leather, 2003, France, 2010.56.2, museum purchase

Detail, Counterfeit Louis Vuitton (Takashi Murakami) Cerises Mini HL bag

Detail, Counterfeit Louis Vuitton (Takashi Murakami) Cerises Mini HL bag

Counterfeit Louis Vuitton (Takashi Murakami) Cerises Mini HL bag

Coated canvas, plastic, circa 2005, USA, 2014.13.1, gift of Pepper Hemingway

Detail, Louis Vuitton (Takashi Murakami) Speedy 30 bag

Detail, Louis Vuitton (Takashi Murakami) Speedy 30 bag

Detail, Louis Vuitton (Takashi Murakami) Speedy 30 bag

Detail, Louis Vuitton (Takashi Murakami) Speedy 30 bag

Detail, Louis Vuitton (Takashi Murakami) Speedy 30 bag

Counterfeit Gucci Jackie bag

Calfskin leather, 1990s, England, 2002.96.14, gift of Laura Solomon in memory of Sally Solomon

Detail, Counterfeit Gucci Jackie bag and Gucci Jackie bag

Detail, Counterfeit Gucci Jackie bag

Patent of Gucci crest

Detail, Counterfeit Gucci Jackie bag

Detail, Counterfeit Gucci Jackie bag and Gucci Jackie bag

Gucci Checkbook

Counterfeit Gucci wallet

Detail, Counterfeit Gucci wallet

Detail, Counterfeit Gucci wallet

Detail, Gucci checkbook

Detail, Gucci checkbook

Matlick Zelinka licensed copy of a Chanel suit

New York manufacturer Matlick Zelinka created this licensed copy of a Chanel suit for her daughter to wear to Chanel’s fall 1960 couture show. Vogue often featured Zelinka’s reproductions of couture designs.

Wool tweed, silk, braid, 1960, France, 71.245.1, gift of David Zelinka

Jean-Louis Scherrer three-piece suit

French couturier Jean-Louis Scherrer copied Chanel’s iconic threepiece suit during the height of its popularity. He incorporated all the hallmarks of a Chanel suit, including its fabric, self-tie blouse, chain, and lion-head buttons. Chanel’s reaction is unknown, but she once said, “The very idea of protecting the seasonal arts is childish. One should not bother to protect that which dies the minute it is born.”

Wool tweed, silk, metal, circa 1964, France, 2014.15.24, gift of Cristina Noble

Left: Gabrielle “Coco” Chanel three-piece suit, wool and metallic tweed, 1963-1964, France, 80.13.1, gift of Ms. Georges Gudefin

In this suit, Chanel has extended the pink lining to form the trim, and then finished it off with a navy grosgrain ribbon and braid. Trims are signature elements of Chanel’s three-piece suits, arguably the most copied style in fashion history. “If mine are copied, so much the better. Ideas are made to be communicated,” Chanel said.

Right: Adolfo three-piece suit, wool bouclé knit, silk, 1972, USA, 93.82.9, gift of Adolfo

First Ladies of the United States traditionally support American designers, yet some garments created for First Ladies have been adaptations of Parisian fashions. This suit was made especially for Nancy Reagan by Adolfo, who apprenticed with Chanel in 1956. Tom Fallon observed, “Adolfo . . . has made a business of copying Chanel.”

“Come and get your little Chanels, only fifty francs!” shouted a vendor selling counterfeit Chanel suits on the streets of Paris. Undaunted, Chanel used the counterfeit suits as inspiration for her next collection. One imagines she might have been entertained by the Chanel buttons on the Karl Davis suit, at right.

Left: Gabrielle “Coco” Chanel suit, wool knit, cotton, metal, 1970, France, 87.139.7, gift of Mrs. Walter Eytan

As a young designer, Karl Davis cited Chanel as the inspiration for his fall 1986 collection. His gold chain buttons with the double “C” logo are identical to the ones on the Chanel suit at left. Women’s Wear Daily reviewed this show, stating, “Too much Chanel, too little humor.”

Right: Karl Davis rain suit, embossed vinyl, brass, fall 1986, USA, 89.148.1, gift of Mr. & Mrs. Lembert Davis

Detail, Karl Davis rain suit

Embossed vinyl, brass, fall 1986, USA, 89.148.1, gift of Mr. & Mrs. Lembert Davis