Patricia Attwood, The Art of Fashion
With three primed mannequins at the entrance, a string of couture jewelry and bags branded abundantly, the Patricia Attwood stand is a must in the fashion route of Paul Bert Serpette. This great lady with a haughty bearing and proud bearing shows a sharp taste and knowledge in the history of the fabric ... which she willingly shares.
A MANNEQUIN PASSIONATED COUTURE OF ANTIQUES It is on the benches of Sciences Po that Patricia meets the fashion. A comrade offers him to parade for a ready-to-wear fair. Freshly graduated, she takes the game and goes from the ENA prepa to Nina Ricci, as a cabin dummy. These long hours spent motionless, seeing the dresses getting done and getting rid of her, Patricia uses them to observe and learn, a privileged witness to the work and technicality of sewing. At the same time, this daughter of collectors accustomed to Drouot, chines since its young age antiquities and chinese. In 1990, she made it her profession by settling in the Flea, but it takes fifteen years for this passionate fashion to dedicates her shop to her passion by presenting her incredible collection of dresses and high-fashion designer couture pieces since its twenty years.
A WRITTEN TALENT ONE Must hear Patricia talk about fashion houses and fashion. This extravagant universe of which the clothes and jewels that populate his shop testify. Saint Laurent ? The richness of the materials combined with the ingenuity of the cut. Montana? Excessively 80. Mugler? A genial intuition of the female body. All the biggest claws from the 50s to the 80s are there, united. All selected for their originality because it is less the name, certainly synonymous of quality, than the drawing that interests here. Like the ladies who decriffed their dress for the sake of elegance, Patricia does not sell logos but a timeless chic. And to celebrate it, it decrees three timeless criteria: the staging of the feminine, the technique of the work and the humor, always.
A FASHION ENGINEERING At Patricia Attwood, one constraint: everything must be portable. This is how tempting is the temptation in his shop. Everything must be portable but everything must be worked, researched, thought. Thus, this little black dress by Yves Saint-Laurent haute couture, which, under the luxurious silk velvet, conceals an ingenious system of bolduc wrapping the waist and hooks fixing bra straps to ensure an impeccable fall. Or this Mugler jacket with a sharp back, the result of a subtle work of assembly and a clever balance of different densities of fabrics giving an unequaled hold. The delicacy of the seams associated with an architectural construction of the garment, that is what vibrates Patricia. Like the dress disproportionate to the shoulders to perfectly fit the client's body, Patricia's outfits are the nostalgic testimonies of a refinement now somewhat forgotten.
Patricia Attwood, Stand 7, Alley 2, Serpette
See also:
Thomas Bonzom, the antiquarian of light
Elise Jullien, a High Idea of Antiquities
Gilles Oudin, an industrious antique dealer