But for Christian Lacroix, profit has never been the point. “Businessmen and market people are so far from artists and creative people,” Lacroix says now, regretfully....They much prefer to sign with people able to give them back a great amount of money than with people capable of understanding timeless passion. Perhaps LVMH focused only on numbers and bottom lines and was not happy with passions.” ....Many of the members of the Chambre Syndicale have large, multinational companies backing them, absorbing the financial burden. Chanel, Givenchy, Valentino all still show haute couture, because to have such a division is still considered important for branding, like some sort of unbelievably expensive and rarefied biannual ad campaign....It’s estimated that there are, worldwide, only about 150 customers for couture—the prices begin at about $50,000 for a simple suit. Clients these days come mostly from Asia or the Middle East. .....He filed for protection with the French government, which he says agreed that the Falics should pay two more months of salary (through August) and 15,000 euros in fees for the models. The donations began pouring in. Olivier Saillard, of the Musée des Arts Décoratifs at the Louvre, offered three elegant salons. Inès de la Fressange and Bruno Frisoni, the creative directors of Roger Vivier, sent over boxes of shoes; Odile Gilbert volunteered to do the hair; Stéphane Marais chipped in with makeup. Lacroix gathered his suppliers together in the garden behind his office: “I asked them to forgive me,” he says. “And they said that if we would show, they wanted to give everything.” Taroni and Gandini, two of the best Italian fabric mills, donated fabrics. “I didn’t want to exaggerate,” he says. “I didn’t want to be rude. But this house, it means something to the métier. It means something to Paris. It is really like some happiness pills."

— fashion designer Lacroix on conflict between creativity and merchants  

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