The Stylestorian

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Marie Seznec was known as the couture client liaison for Christian Lacroix, but she had another role that was just as important, one of a grey-haired muse. “I found my first grey hair when I was just 14,” she said. “ All my family had grey hair; my parents, grandparents, my brothers and sisters. Because I was the youngest of a family of five I wasn’t shocked at all.”

Born and raised in Brittany, Seznec’s first introduction to the industry was through her family’s boutique. “I loved fashion and I liked staring into the store’s windows,” Seznec said. “Although my parents worked in the fashion business, they were also artists. My father drew all the time, and my mother embroidered.”

After childhood, Seznec went to study fashion at Studio Bercot. While as a student, she was spotted by an editor of Elle France. This editor had her photographed for the magazine’s 1982 December issue, which attracted the modeling agency, Marilyn.

Speaking about her qualifications as a model, Seznec said, “At 5’-6” I wasn’t very tall compared to other models in the ‘80s who were at least 5’-8”. Today you have to be 6 feet!”

Her grey hair paired with her youthful, beautiful face attracted high-end designers, and she found work with Thierry Mugler, Hermes, and Yohji Yamamoto. Her unique look even caught the attention of Christian Lacroix, then at the couture house Jean Patou.

The first time she appeared on a Patou runway, Lacroix ordered hairdresser Alexandre de Paris to make Seznec into a modern-day Madame de Pompadour, which was later recreated for the cover of W.

A friendship between Lacroix and Seznec traveled from his time at Patou to his own personal couture line. She worked as both a fit and fashion model for the house and was an essential part of the line’s image. She later became an ambassador for Lacroix, and even inspired him to give his in-store mannequins grey hair.

Seznec then took a break from the colorful walls of Lacroix’s salon to get married. As expected, her gown was a custom-made satin dress suit made by Lacroix. For the reception, she changed into a powder pink chiffon and taffeta ballgown that was also made by the designer. After spending some time as a married woman, she found herself back to fashion in 1994 and became the Directrice of the designer’s couture salon.

Seznec’s new position held a lot of power because it worked directly with high paying customers. To attract and maintain clients, she used her charming personality and immense knowledge about the brand, which was cultivated through years of experience. She remained in this position until 2009, and at the age of 57, Seznec sadly passed away from cancer.

Seznec’s grey hair while outfitted in Lacroix’s clothing will always be a moment of fashion history where muse and maker combined. However, what may be more important is the relationship between the designer and his trusted friend. Just like her beauty, Seznec and Lacroix’s friendship was one of a kind.

One of the most fascinating aspects about Renée Perle’s wardrobe was her use of separates as resort wear in 1930s Southern France. Most of the photos taken of Renée by photographer Jacques-Henri Lartigue were in a warm climate, which called for light and airy fabrics. Numerous images feature Renée in a uniform of a crisp short sleeve T-shirt or sleeveless tank paired with loose trousers. While Renée could work a ball gown, she looked as glamorous in a knit top and pants.

Born in Romania to a Jewish family, Renée Perle left Central Europe for the glamor of 1920s Paris. There, she began her career as a model posing for artists. In between 1929 to 1930, Renée met Jacques-Henri Lartigue, who was newly separated from his first wife Bibi, on the Rue de la Pompe. Lartigue found Renée’s large brown eyes and deep tan skin as exotic. He once wondered out loud if she was Mexican, but she corrected him, stating “Romanian…my name is Renée Perle…”

They quickly hit it off and became a couple. Together the couple traveled to the most glamorous place one could be in the 1930s, the South of France. Renée was more than just a pretty girl posing in front of the camera, she created a look that accentuated Lartigue’s aesthetic. In many of their photos together, Renée’s clothing, hair, and makeup are flawless. Her look consisted of Marcel waves, cupid bow lips, dark-painted nails, and multiple bangles around her wrist.

Renée and Lartigue ended their relationship two years after they met. Unfortunately, there is not much known about Renée after her parting with Lartigue, except that she continued her career as a model and ventured into creating her own art. Many of Renée’s pieces were self-portraits, making some people assume that she was obsessed with painting her image. There have been attempts to try to find any of her art pieces, but there has not been any luck. When Renée passed away in the late 1970’s in the South of France some of her jewelry and other belongings were auctioned in 2000 and 2001 at the Parisian auction house Tajan.

Websites like the now-defunct Style.com claimed her as one of their beauty icons, and designers like John Galliano have called her a “Parisian kittenish coquette.” Although she modeled over eighty years ago, the stylish legacy of Renée Perle is unforgettable.