While London was busy swinging in the 60s, the French were revolutionising fashion in their own inimitably trs chic way. New young designers were appearing thick and fast, nicknamed y-y designers after the French pronunciation of the Beatles' lyric. France's answer to Mary Quant, Parisian model Emmanuelle Khanh, was an integral part of this movement, present at the beating heart of the prt--porter revolution of the 1960s.
Born Rene Mezire, Khanh's long and illustrious fashion career started by modeling for some of the biggest couture houses in the world, which included Balenciaga and Givenchy from 1957-63. In the late 50s, however, she became increasingly aware that haute couture only reached a minority group; fashion is a right, not a privilege, and although couture is a true art form, only the very rich can get close enough to appreciate it.
Her denouncement of high fashion is confirmed in Valerie Steele's book, 'Paris fashion: a cultural history'. '"Haute couture is dead," announced Emmanuelle Khanh in 1964. "I want to design for the street…a socialist kind of fashion for the grand mass."'
With her own personal interest in fashion developing, this realization was the catalyst for her to step out of the modeling ring, and begin to design clothes under her own name. A foray into designing was popular with models at the time - Khanh's change of direction followed French model Bettina and Chanel protge Marie Helene Arnaud, who both turned their hand to the design industry. Her aim was to create more approachable - but just as fashionable - ready-to-wear clothes than those she had been wearing at the grand couture houses.

Khanh's criticism of couture went further than the price point, however, as she believed that the beauty of the body was concealed under the superfluous ruffles, layering and heavy detailing of couture gowns. To counteract this, she cut her clothes to follow the movement of a woman's body, emphasizing and celebrating feminine curves. She preferred slim-fitting tailored looks, evoking a 1930s silhouette, and became recognised for long, waterfall-style collars on her suits - a recurring feature that was endearingly nicknamed, "The Droop".

Her first line was launched in 1961 and was a critical and commercial success, with one newspaper from 1964 calling her designs "revolutionary", and highlighting her as "one of the leaders of the future among the group of ready-to-wear designers who are helping to bring comparatively unknown houses into the limelight".
Khanh then branched out further, collaborating with another ex-Balenciaga model, Christiane Bailly. Assisted by a young Paco Rabanne, the pair launched their label, 'Emmachristie,' in 1962 and, according to the book, "The Beautiful People" by Marilyn Bender, they succeeded in drawing up "the blueprint for the y-y revolution".
The former model's career went from strength to strength, creating collections for major fashion houses including Missoni, Cacharel, Max Mara, and Le Bistrot du Tricot, before opening the first Emmanuelle Khanh Paris boutique in 1977. With a 1986 Chevalier des Arts et des Lettres award under her belt, she became president of Emmanuelle Khanh International in 1987.
Although she is no longer directly involved in the design house herself, the Emmanuelle Khanh sunglasses range, Emmanuelle Khanh Paris, is proving as popular today as her ready-to-wear range did in the 60s, with customers clamouring for her signature retro-inspired designs. It is currently sold in high-end designer boutique websites such as net-a-porter.com. Emmanuelle Khanh Paris was one of the first accessory brands to decorate the frames of their glasses, using textiles such as leather and Swarovski, and adding trend details like rhinestones and studs.

The most important elements of the eponymous label, claims Elodie Lefeuvre, spokeswoman for the Emmanuelle Khanh Paris Showroom, are colour, graphic design and "fashion refinement", which were key features throughout Khanh's career. "Freedom, happiness, creativity and 'Parisian chic' - that is our brand's philosophy," explains Elodie. "Our frames are specific, classy and easy to wear, and there is a special touch in the way (we) design them. (Both) fashion people and chic customers can recognize them very easily."

The Emmanuelle Khanh Paris brand will continue to grow, with plans to develop a range of optical frames. And, with the relaunch of the famous black-rimmed 5050 model - as worn by Ms Khanh herself - customers can hope to own a little piece of fashion history, and edge a little closer to harnessing that elusive Parisian chic.