The history

Since 1969

  • 1960

    Paragraphe 1

    Born in Paris, Emmanuelle Khanh enters the fashion world at the end of the 50s as a model. At the beginning of the 60s, she becomes interested by styling and she collaborates with rising brands of the time – Cacharel or Missoni. She seizes a fast-changing time period: the liberation of the woman’s body, the democratization of fashion, the growing awareness of youth’s strength. At the avant-garde of these transformations, she imagines the wardrobe of the modern, free and active woman who emancipates of the stiff social yokes. Emmanuelle Khanh is the very first woman to draw models for the Créateur section of the La Redoute catalog.

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  • 1969

    Paragraphe 2

    In 1969, she launches her eponym brand of feminine ready-to-wear. Convinced that the fashion has to overcome the boundaries of Paris Haute Couture salons, Emmanuelle Khanh wants to free the forms and the materials, and to make fashion go down the streets. She revolutionizes the fashion of her time: through the forms, which offer to the women an ease of movement which they cannot found besides; through the materials she uses, as jeans or plastic. Inspired by her husband, the designer Quasar Khanh, famous for his inflatable plastic furniture, she reinvents this material for the cloth-making. These innovations, associated with stitches and embroideries, define her unique wardrobe. The success comes very fast.

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  • 1972

    Paragraphe 3

    In 1972, Emmanuelle Khanh launches a collection of glasses. In order to get the best, she starts working with the traditional workshops of Oyonnax (Jura, France) and imagines a line of oversized frames, which immediately becomes iconic. With Emmanuelle Khanh, glasses become fully a fashion accessory, the signature of an audacious style, bold and elegant at the same time.

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  • 1977

    Paragraphe 4

    In 1977, Emmanuelle Khanh opens her first shop on the left bank of Paris, 2 rue de Tournon, in the Quartier Latin. The most beautiful and most famous stores of the world will present her creations. To ready-to-wear and glasses, a line of jewels is added. It is inspired by the plant pattern and explores new materials, such as ceramic. Other accessories – hats, gloves and bags – are successively designed to eventually define a complete silhouette.

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  • 2009

    Paragraphe 5

    The House Emmanuelle Khanh is revived after its fade-out in the 90s. Glasses, the most outstanding element of the creator’s style, are the first to be designed again. EMMANUELLE KHANH PARIS remains faithful to its roots and draws from what constitutes the essence of the House: oversized frames with strong lines, rich materials, bold colors and handmade manufacture. The historic forms are reinterpreted: it is the inbeing of the Héritage collection, a unique line, with character and distinctive codes.

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  • 2016

    Paragraphe 6

    EMMANUELLE KHANH PARIS boosts its feminine ready-to-wear line. A first capsule collection is dedicated to mesh, and then the seasonal collections define one after the other the new style of the House. Designs are inspired the boldness of the creator, her faculty to understand the present and the way she uses unexpected materials. They are adapted to the new silhouette of today’s women. The materials play with volumes: mesh becomes oversized or skin-tighten, the plastic is revised through the prism of the Internet era, and velvet is adorned with disproportionate stripes. This wardrobe is completed by a line of accessory – gloves, hats and bags.

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  • 2016

    Paragraphe 7

    In the winter, Madam Khanh passes away in Paris. After having revolutionized the women’s fashion and the world of ready-to-wear clothing, she bequeaths much more than style to the future generations; she hands a militant and audacious state of mind and the will to reconcile the elegance and the strength of the women. 
    In the spring, the first Studio collection, glasses completely handmade in Japan, is presented. Arisen from the desire to work with new materials and new forms, this line studies the contrasts between materials and lighting effects: the thin titanium structures are associated with volumes that are sculptured in the acetate. As seasons go by, this new look becomes fully part of EMMANUELLE KHANH PARIS’s story. In the autumn, the first perfume of the House will be revealed.

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