“To bring fans back into women’s hands” was Jean-Pierre Duvelleroy’s ultimate dream. That dream, born in 1827, gave rise to the House of Duvelleroy. We stand here, before a legacy of Parisian craftsmanship. This is Avenue Duvelleroy.
Duvelleroy takes lightness very seriously. The Maison’s hand-fans are hand-made in France and Spain. They draw inspiration from centuries of history. They find their meaning in modern times.
Jean-Pierre Duvelleroy moved from Cherbourg to Paris. He was a daring young entrepreneur. His dream was to revive the fashion of fans. No one had used fans since the French Revolution.
Fortune favored the brave. A grand costume ball in 1829 provided an opportunity. The Duchesse de Berry, dressed as Marie Antoinette, needed a fan. So did her guests. Duvelleroy was in the right place at the right time.
Business boomed. Jean-Pierre moved his shop to the Passage des Panoramas. It was home to the best engraving workshops. They supplied embossed paper for pleated fans.
Duvelleroy understood innovation was key to stand out. He improved the pleating mould. It was used as a cold press. This allowed folding more delicate materials than paper.
Pleating had been done by hand. A coin marked each fold. The new technique opened possibilities. Finer paper, silk, and embroidered fabrics became options. Art Nouveau illustrators decorated them.
Leaves were mounted on sticks of rare materials. Ivory, mother of pearl, and tortoise shell were used. Duvelleroy personalized each piece. Initials and crowns reflected the owner’s title. This was like today’s luxury apparel customization.
Jean-Pierre’s son published a book. It detailed the secret language of fans. Fans conveyed secret love messages. The booklet was a valuable marketing tool. It accompanied each purchase.
Duvelleroy’s fame extended beyond France. The Maison supplied European courts. Queen Victoria was a client. The Belle Epoque marked the apogee of its success.
The Great War’s aftermath sounded the death knell for fans. Flappers bought ostrich feather fans in the Roaring Twenties. Other women stopped using fans. Duvelleroy survived through small leather goods production.
Eloïse Gilles and Raphaëlle de Panafieu met Michel Maignan. He was the grandchild of Jean-Charles. Jean-Charles acquired the Maison in 1940. Michel had been the faithful custodian of archives and collection pieces. Some dated back to 1827.
Eloïse and Raphaëlle shared a passion for craftsmanship. Each couture piece is painstakingly assembled. A master fan craftsman does it. This process needs patience and technique. Feather marquetry and embroidered fabric are the result.
Duvelleroy collaborated with fashion designers. Dior, Castelbajac, and Hermès were partners. They also worked with master craftspersons. Solenne Jolivet used art embroidery in a pictorial way.
Duvelleroy launched a “ready-to-wear” version of the fans. These paper creations are made in Spain. They are whimsical and affordable.
Using a fan is a personal act. It requires being in the moment. This is precious today. We are often distracted by screens. Duvelleroy offers a moment of mindful elegance.
So, as we stand on Avenue Duvelleroy, remember the story of a dream. A dream to bring fans back. A dream revived by passion and craftsmanship. The House of Duvelleroy continues to whisper secrets of elegance. It invites us to pause and appreciate the beauty of a bygone era.