Revillon

No Revillon collection later than Spring–Summer 2013 has been verified, and a January 2016 business profile described the house as dormant. The Revillon name continued to survive through trademark ownership under Yves Salomon SAS.

Yves Salomon appointed Andrew Heather creative director of Revillon on 26 September 2011. His tenure produced three documented collections and accompanied a renewed Paris retail push.

After Peter Dundas’s contract ended, Revillon continued through an unnamed in-house team. A documented Autumn–Winter 2011 Paris runway confirms active collection authorship before Andrew Heather’s appointment.

Revillon had ended Peter Dundas’s contract by early March 2010 and was seeking a successor. The exact effective termination date has not been established.

Yves Salomon appointed Peter Dundas creative director of Revillon in January 2008. He developed the house as a fur-led ready-to-wear label and presented documented collections during the following year.

Rick Owens’s Revillon tenure ended when the fur and ready-to-wear activity passed from Fibalko to Yves Salomon in December 2006. No later Revillon collection is attributed to him.

Fibalko transferred Revillon’s fur and ready-to-wear mark or activity to Yves Salomon in December 2006. The category-specific transaction ended the Rick Owens phase and established the operator behind the next Revillon revivals.

During the Fibalko period, Rick Owens obtained a production licence for Revillon while Fibalko retained ownership. The arrangement expanded his responsibility from creative direction into the operating delivery of the revived fashion line.

Fibalko appointed Rick Owens creative director of Revillon on 7 March 2003. His tenure restored a sustained designer-led fashion activity with runway collections and commercially delivered garments.

Cora sold the financially troubled Revillon house to Swiss company Fibalko SA in June 1999. The transaction created the ownership boundary from which the later Rick Owens revival emerged.

Revillon and Saks Fifth Avenue ended their long fur-salon arrangement effective 1 May 1996, with Saks assuming operation of the salons. The event marks a major contraction of Revillon-controlled United States retail.

Carolina Herrera designed a Revillon fur project presented in May 1985. The engagement was a guest authorship relationship and occurred alongside a separate Fernando Sánchez Revillon presentation in the same week.

Fernando Sánchez’s second documented Revillon design period ended in 1985. No later Revillon collection attribution to Sánchez has been verified.

Fernando Sánchez returned to Revillon for a second documented design period in 1984–85. The renewed engagement culminated in a Revillon fur runway in May 1985.

Cora acquired controlling influence in Revillon in 1982, placing the house inside the Bouriez group’s diversified retail and luxury structure. Collection activity continued after the ownership change.

Valentino Garavani designed a Revillon fur project presented in May 1981. The engagement supports guest collection authorship and does not establish creative control over Revillon’s wider house, ateliers or product divisions.

Fernando Sánchez’s first sustained Revillon period ended around 1973 as he established his independent company. A further Revillon runway is documented in 1976, so the end of continuous employment does not erase later house work.

Bill Blass was credited with Revillon’s American luxury ready-to-wear portion in November 1973 and continued the relationship through a documented Revillon fur runway in June 1974. His remit was a guest design engagement, not house-wide direction.

A November 1973 Revillon presentation divided authorship between Fernando Sánchez for the Paris portion, Bill Blass for American luxury ready-to-wear and Adolfo for boutique models. The structure shows the house operating through parallel creative remits.

By 1964 Revillon furs and the youth-oriented Mlle. Revillon offer were operating at Saks Fifth Avenue. The arrangement established a durable United States retail platform and a differentiated product structure for the house.

Fernando Sánchez became Revillon’s in-house designer in the early 1960s, creating furs and outerwear across New York and Paris. He is the first strongly documented sustained individual designer in the house’s postwar history.

Revillon opened L’Art et la Fourrure in its Paris salons on 18 May 1954 under Jean Carlu’s artistic direction. The exhibition combined fur craft, sculpture, film, choreography, music, scenography and technical demonstration.

A Palais Galliera coat from Autumn–Winter 1946–47 carries both Balenciaga and Revillon labels. The dual attribution documents Revillon’s specialist fur contribution inside Balenciaga couture production.

Revillon Frères participated as a specialist furrier in Le Théâtre de la Mode, the miniature Paris fashion exhibition opened at the Pavillon de Marsan in March 1945 and later toured internationally. The exact Revillon miniature models remain unidentified.

Revillon sponsored Robert J. Flaherty’s 1920–21 expedition through its northern post network, enabling the work that became Nanook of the North. Selected expedition photographs later entered Revillon promotional portfolios.

Later trade-biographical material reports that Paul Larisch left France at the beginning of the First World War, ending his Revillon atelier tenure. The circumstance is less securely documented than his position itself and remains qualified.

Paul Larisch served as chef des ateliers at Revillon Frères in Paris, holding senior technical authority within the fur workshops and training younger practitioners. The surviving evidence supports workshop leadership and does not assign him sole authorship of the house’s garments.

From the turn of the century to the First World War, Revillon expanded Montreal and Edmonton hubs, northern trading posts and Eurasian buying operations. Léon Revillon was one of the principal family organisers of the international structure supporting the Paris house.

At the 1893 World’s Columbian Exposition in Chicago, Revillon presented complete garments described as exclusive house models. The official report stated that major American and European houses bought such models annually for reproduction.

An official French exhibition catalogue documents Revillon Frères at 79–81 rue de Rivoli by 1876. The record provides a firm terminus for the public name that would define the house through much of the following century.

A Paris commercial directory documents a joint Revillon trade name by 1853, followed by secure notarial evidence for Louis-Victor Révillon as a merchant furrier at 81 rue de Rivoli in 1857. This is the defensible institutional foundation point for the Revillon-named house.

Later house histories state that Louis-Victor Révillon acquired Maison Givelet in 1839. The transfer deed and exact assets acquired have not been located, so the date remains a qualified succession point.

A notarial inventory identifies Louis-Lazare-François Givelet as a fur merchant at 159 rue Saint-Honoré. This is the earliest primary operating evidence located for the predecessor business later incorporated into Revillon’s historical lineage.