THE couturier—the bearded dressmaker, the masculine artist in silk and satin—is an essentially modern and Parisian phenomenon. It is true the elegant and capricious Madame de Pompadour owed most of her toilets and elegant accoutrements to the genius of Supplis, the famous tailleur pour dames, or ladies' tailor, of the epoch. But Supplis was an exception and he never assumed the name of couturier, the masculine form of couturière, "dress-maker." That appellation was reserved for the great artists of the Second Empire, Worth, Aurelly, Pingat, and their rivals, who utterly revolutionized feminine costume and endeavored to direct it in the paths of art, good taste, and comfort. ["The Parisian Couturier," Lippincott's Magazine, October 1885]
男裁缝——那位留着胡须的裁缝,丝绸和缎子的男性艺术家——本质上是一个现代的、巴黎特有的现象。确实,优雅而多变的蓬帕杜夫人(Madame de Pompadour)的大部分华丽服饰和优雅配件都得益于当时著名的女裁缝苏普利斯(Supplis),即“女裁缝”(tailleur pour dames)。但苏普利斯是个例外,他从未自称为 couturier,即 couturière 的男性形式。这个称谓专属于第二帝国时期那些伟大的艺术家们,如沃思(Worth)、奥雷利(Aurelly)、平戈(Pingat)及其竞争对手们,他们彻底革新了女性服装,并努力将其引导向艺术、良好品味和舒适的方向。[《巴黎裁缝》,《利平科特杂志》,1885年10月]