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The couturier the bearded dressmaker, the masculine artist in silk and satin is an essentially modern and Parisian phenomenon. It is true that 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. Enthusiasts of grace and beauty, these artists set themselves the task of preventing the inconstant goddess of fashion from continuing to wander off into ugliness, deformity, and absurdity. In their devotion to art, beauty, and luxury, they determined never to forget fitness and comfort, and since their initiative has regulated the vagaries of fashion we must admit that our women have never been the victims of such inconvenient, ugly, and absurd inventions as crinoline, leg-o'-mutton sleeves, the coiffure
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