Tag Archives: Wall Street Journal Fashion coverage

Paris in Baltimore – and Beyond: A Small Fashion Show

Shortly after I returned home from my Classic French Jacket Class with Susan Khalje, an article entitled “The Comeback of Haute Couture” appeared in The Wall Street Journal.  The reporter, fashion editor Christine Binkley, gives an overview – from the haute couture week in Paris, of course – of the frenzied and renewed interest in “astronomically expensive made-to-measure clothing [ranging] from $10,000 to $150,000 or more.”  Among the fashion houses showing haute couture collections was Chanel.  To quote:  “Chanel . . . looked as though the clothes could be easily worn, even if they were assembled, pleated, and embellished by dozens of ‘petite mains,’ as haute couture seamstresses are called. ‘Of course it’s comfortable.  It’s Chanel,’ said designer Karl Lagerfeld . . .”

“Comfortable” is a description frequently used by those of us making our own Chanel-inspired jackets.  Of course, everyone knows that the inspiration for Coco Chanel’s original cardigan jacket came when she cut her lover’s cardigan sweater down the front, added some ribbon trim and created a classic.  How the construction of the jacket went from sweater to quilted, silk-lined boucle is unknown to me, but one thing is for sure:  these jackets feel as cozy and comfy as any old favorite sweater.  I think this was a revelation and lovely surprise to all of us.  It makes wearing them all the more rewarding.

And – wear them we are starting to do!  Some of my classmates have kindly given me permission to show their finished jackets here on Fifty Dresses.  I am delighted to share these lovely examples made by “petite mains” Joanne, Holly, Myra, and Sherry:

Joanne’s classic black jacket is elegant and so versatile.  Her lovely floral lining fabric does not show, but trust me that is stunning.

A simply lovely jacket!

A simply lovely jacket!

Holly’s jacket has sparkle to it, just like her!

Look at the beautiful lining that Holly chose.

Look at the beautiful lining that Holly chose.

Isn't this color perfect for Holly?

Isn’t this color perfect for Holly?

The buttons which Holly chose are perfect!

The buttons which Holly chose are perfect!

With a few scraps left over from her lining, Holly made a color-blocked shell to wear with her jacket!

With a few scraps left over from her lining, Holly made a color-blocked shell to wear with her jacket.

Myra’s horizontally and unevenly striped boucle caused some minor headaches during the pattern placement, but look how beautifully it turned out.

Looking lovely even in the hot sun!

Looking lovely even in the hot sun!

Myra's jacket - 2

Myra's whimsical lining fabric features images of Audrey Hepburn.  She brought this fabric with her to Baltimore and chose her boucle accordingly.

Myra’s whimsical lining fabric features images of Audrey Hepburn. She brought this fabric with her to Baltimore and chose her boucle accordingly.

Sherry chose a creamy white, loosely woven “windowpane” boucle for her jacket, and the result is pure loveliness.

Isn't this beautiful??

Isn’t this beautiful??

Sherry very cleverly made her pockets on the bias.  The petite buttons are just right for the weave of the fabric.

Sherry very cleverly made her pockets on the bias. The petite buttons are just right for the weave of the fabric.

Look how well Sherry's jacket fits.

Look how well Sherry’s jacket fits. 

One of the many fun aspects of the class was the color variety of jackets being sewn.  While there were other deep shades (raspberry pink, royal blue, true purple) I was the only one making a red jacket.

For starters, here is my jacket hanging.

For starters, here is my jacket hanging.

A few details.

A few details.

A view of the lining.

A view of the lining.

Shown with basic black.

Shown with basic black.

I can't believe it's finished!

I can’t believe it’s finished!

I added a gradual 1/4" to the back length, which gives it a more graceful line, I think.  This was one of Susan's many excellent suggestions.

I added a gradual 1/4″ to the back length, which gives it a more graceful line, I think. This was one of Susan’s many excellent suggestions.

Red Chanel jacket

There is nothing shy about this lining fabric!

There is nothing shy about this lining fabric!

During the lengthy process of making my jacket, I have had lots of time to reflect on some of its charms:

1) Boucle is wonderful for hand-sewing, as one’s stitches simply disappear into the fabric.

2) This is “common sense” sewing: every step (of which there are many) adds in subtle or significant ways to its wear-ability, appearance, or fit.

3) Finishing a project like this is empowering.  I felt like I grew as a “dressmaker” during this process.  And beware . . .

4) Finishing a project like this is addictive.  Yes, I already have a boucle for my next one . .

However, before I start my next one, I have one thing to (start and) finish:   That charmeuse I used for the lining?  I purchased enough to make a sleeveless sheath dress to wear with my jacket.

What was I thinking??


Filed under Chanel-type jackets, Coco Chanel, couture construction, sewing in silk, Uncategorized

A “Little” More on Chanel

Coco Chanel has been the fascinating, and sometimes controversial, subject of many, many biographies, several of which I have read.  However, none has charmed me quite the way Different Like Coco has.  This delightful slim book by Elizabeth Matthews is written for the 5 – 9 group.  Now, I don’t mean the fun-loving cocktail ladies, who start sipping at 5:00 PM and finally get to dinner at 9:00.  No, this group is the age-group of 5 – 9, meaning the “little” ones.  Yes, this is a children’s book, a small biography of Coco Chanel, with expressive illustrations, and text which strikes a good balance between simplicity and sophistication.

This bright yellow book jacket hints at the lively story inside.

This bright yellow book jacket hints at the lively story inside.

Different Like Coco was published in 2007 by Candlewick Press, a children’s book publisher located in Massachusetts.  I became acquainted with the newly-minted book when I read a review of it in The Wall Street Journal, by Meghan Cox Gurdon.  Being a “pushover” for all things about the fashion and creative sense of Coco Chanel, I ordered my own copy from Amazon.  (Little did I ever imagine that 6 years later, I would have my own little granddaughter who might just hear this book read to her – oh, who knows how many times?)

On one level, the book is purely biographical, emphasizing Chanel’s childhood spent in poverty – which she did not allow to define her.  The later part of her childhood was spent in a convent, and it was there where she learned to sew.

The author's charming illustration of Coco as a child with her sewing.

The author’s charming illustration of Coco as a child with her sewing.

Those sewing skills were the “mechanical” ticket to her success, while her creativity, her determination, her hard work and her daring flounting of convention set her apart from others of her age.

Coco's creativity on display.

Coco’s creativity on display.

The story emphasizes these characteristics for the young readers of this book, which makes it more than a biography.  Indeed, these characteristics are treated as inspirational, which they certainly can be to children.

Some of the more controversial aspects of Chanel’s life are handled discreetly, so that the opening of her first shop and the creation of the classic cardigan jacket (made from one of her lover’s sweaters) are seamless chapters in her life story.

A classic created anew!

A classic, created anew!

For the adult reader of this sweet book, there are two features which I guarantee will be read again and again.  One is the “Timeline” which is in the back of the book (accompanied by a bibliography, too).  All the important dates of Chanel’s life are succinctly listed, including the development of her perfume Chanel No. 5 in 1921; the afore-mentioned creation of her signature jacket, also in 1921, and her debut of the “little black dress” in 1926.

The other compelling aspect of this book is one of pure brilliance from a design point of view:  the lining pages feature a “running commentary” of some of Chanel’s famous and less-known quotes.

One side of the lining pages of the book.

One side of the lining pages of the book.

A sampling of her quotes about fashion:

“Fashion is made to become unfashionable.”

“A fashion that does not reach the streets is not a fashion.”

“Fashion is architecture: it is a matter of proportions.”

And some of her quotes about life:

“There are people who have money and people who are rich.”

“Luxury must be comfortable; otherwise it is not luxury.”

“How many cares one loses when one decides not to be something but to be someone.”

And I so appreciate that this quote is placed centermost:  “The most courageous act is still to think for yourself.  Aloud.”

I cannot close this post without a special word about the author, Elizabeth Matthews.  The book jacket has this short statement about her and her motivation to write this book:



Thank you, Elizabeth Matthews, for making the life story of Coco Chanel an inspiring and almost magical tale for 5 to 9-ers of every age!


Filed under Book reviews, Chanel-type jackets, Coco Chanel, Uncategorized

The Return of the Ladylike Suit

It seems I just can’t get way from that word – ladylike.  Just as I was finishing the jacket to my emerald green silk suit, the weekend Wall Street Journal arrived with this article in the Off Duty – Style & Fashion section:  “Gran Larceny – Fashion’s latest rebellion is co-opting looks from grandma’s closet.”

This photo, copyright The Wall Street Journal, is the lead photo for the article.

This photo, copyright The Wall Street Journal, is the lead photo for the article.

To quote from this article by Alexa Brazilian:

“Is conservative the new radical?    The fashion world certainly seems to think  so  . . .    Designers are reimaging soignée staples for spring and summer – skirt suits, twin sets, below-the-knee dresses, kitten heels and frame bags – that appear anything but moth-eaten.

“ ‘A young girl now doesn’t want to dress like her mother; she finds her grandmother much cooler,’ said Nina Ricci creative director Peter Copping, who designed skirt suits inspired by his own nana.  ‘She wore little smart tweedy suits.  I always had a romantic notion of that.’ “

And then later in the article is this statement by Christopher Kane (which I might frame and put on the wall in my sewing room!):  “Ladylike is the ultimate sexiness,” said the designer.  “It’s clean, elegant and in control.  The famous saying, ‘It’s the quiet ones you need to watch,’ definitely applies to this style.”

Well, I won’t necessarily feel radical or even sexy when I wear my new green skirt suit, but I do believe it is an example of that ladylike style of the early 1960s — which actually makes sense since the pattern is indigenous to that decade.

This is the pattern from the 1960s I used for my suit.

This is the pattern from the 1960s I used for my suit.

Finally finished!

And here is the suit finally finished.

I make a few changes to the design once I made the muslin for it.  First, I added two tapering darts to the back.  It was supposed to have a boxy feel to it, but I felt a little narrower silhouette would be more flattering to me.  I also lengthened the jacket by about 1 and ½ inches.

The jacket is still "boxy" but less so with the added darts.

The jacket is still “boxy” but less so with the added darts.

I decided to make the sleeves below elbow length, so I added another inch and ½ to them.  Then I had to narrow them a bit as well to make them look proportional.

Now to the fun part:  the two dressmaker details I added.  In an earlier post, I already showed the turquoise silk lining fabric I chose.  Once I had such a dramatic contrast in the works, I thought I’d push the envelope a bit farther.  I found silk bias ribbon in a lovely periwinkle color and used it to add an edge detail to the lining in the body of the jacket.

Here is the bias silk ribbon attached to the edge of the lining.

Here is the bias silk ribbon attached to the edge of the lining…  Click on the photos to see them up close.


… and one more picture of it.

This was so much fun to do and made attaching the lining to the jacket very easy, as all I had to do was “hand-stitch in the ditch” where the silk ribbon and the lining fabric were sewn together.

Here is what the finished edge looks like.

Here is what the finished edge looks like.

When I found the gold buttons for the jacket, I immediately knew that adding buttons to the sleeves would make it all look more complete.

The gold buttons added to the sleeves and another view of the lining (and the back of the bound buttonholes).

The gold buttons added to the sleeves and another view of the lining (and the back of the bound buttonholes).

And here is a close-up of the larger buttons for the front of the jacket, with their bound buttonholes.

And here is a close-up of the larger buttons for the front of the jacket, with their bound buttonholes.

The last thing I did was attach the label to the inside front of the jacket.

Emerald green suit

The silk shell I am wearing is a RTW one!  I purchased it last Spring and now have something with which to wear it!

The silk shell I am wearing is a RTW one. I purchased it last Spring and now have something with which to wear it!

Another view, without jacket.

Another view, with jacket over my shoulder.

When I found this emerald green silk matka online last Fall at Waechter’s Fine Fabrics, I envisioned a skirt suit – or dressmaker suit, as this type of dressy suit is also called – but I had not progressed beyond that in my planning.  Well, now this new grandmother is feeling pretty fortunate that, not only did I grow up with the styles from the 1960s, but they are making me feel quite fashionable now that I am in my 60s!


Filed under Buttons - choosing the right ones, Dressmaker details, Dressmaker suits, sewing in silk, Uncategorized, vintage Vogue patterns from the 1960s, Vogue patterns

Back to the Past

I am finally back in my sewing room, working on my emerald green silk suit.  The event to which I had hoped to wear this suit has come and gone (I wore something else that evening and the world somehow kept on spinning – amazing!), but this sewing project was and is on my Spring agenda and I am bound and determined to finish it.  Until I have made a bit more progress, with something to show for it, I thought I would indulge you with a book review of the 1956 Claire McCardell (1905-1958) book, What Shall I Wear, re-published in 2012 by The Rookery Press, in association with The Overlook Press, New York, New York.

Back to the Past

This book came to my attention by way of The Vintage Traveler blog (thanks, Lizzie!).  I purchased it on Amazon last Fall, and then, to my surprise, it was one of five books chosen by Christina Binkley of  The Wall Street Journal for her annual list of “Best Style Books”.

This annual feature on "style books" is always one of my favorites.

This annual feature on “style books” in The Wall Street Journal is always one of my favorites.  It appeared on December 20, 2012.

Here from Binkley’s review of the book: “This book is a gem.  …It manages to be modern more than 60 years later…  The designer created chic casual items that we take for granted today, such as trim ankle pants and full skirts that permit comfort and movement.  … She demonstrates an understanding of women’s lives. ‘Everyone should have a “pop-over” dress – a sheath that they can just pop over their head and go.’”

Here are some of Claire McCardell’s fashion tips and thoughts which struck a chord with me, especially in relation to sewing and dressmaking:

1)  The simple act of changing buttons (or in sewing, choosing the right ones) can make a dress fit your style.

2) When putting together your clothing (or pattern and fabric) budget, consider carefully where you want to put your money.  Make one major purchase a year, something classic and timeless is always a smart move.

3) Use color extensively and don’t be afraid to stretch from your normal palette.

4) Coats should be a large part of your wardrobe.  Indeed, she recommends compiling a “Coat Collection”.  That’s advice sweet to my ears!

5) Learn how to tie a scarf!  In her words:  “You miss all the fun if you can’t tie things.”  “If you really care about Fashion, sit down right now and learn to tie.  An ascot, a bandanna, a neckband, a bowknot.  This means knowing how to fold first, knowing how to loop next, knowing how to get the knot straight, knowing how to make the ends even – or uneven – on purpose.”

6)  Like all the great fashion designers and couturiers, she emphasizes the overwhelming importance of fit.  All those muslins/toiles we make are worth the time they take!

7) Accessorize your outfits with the appropriate jewelry, shoes, and bags.  Restraint is better than opulence.

8) She was a big fan (and proponent) of the “American Look”: meaning comfortable clothing with clean lines, displaying elegant simplicity.

The final chapter of the book is appropriately entitled:  Fashion has no last chapter.

You can read here for yourself her Essential Eleven.  Pay particular attention to #2!

As a preface to this list, McCardell states:  "There is a great deal in common between the woman who designs clothes and the woman who knows clothes."

As a preface to this list, McCardell states: “There is a great deal in common between the woman who designs clothes and the woman who knows clothes.”  (Click on the photo for a close-up).

Earlier in the book on page 103, she relates her first experience with dressmaking: “Miss Annie … came to the house to make clothes for mother and me.  The process fascinated me from the start – selecting the pictures of dresses in the Vogue Pattern Book, the fabrics to be bought at the dry-goods store, the cutting and basting and fitting, the pockets and buttons and buttonholes…”

Surely sewing and dressmaking have no last chapter either:  What will you wear?  What will you sew?


Filed under Buttons - choosing the right ones, Coats, Scarves, Uncategorized

Green, green, and more green

When Pantone announced the color of the year for 2013 last week, I was immediately smitten.  Actually, I’ve been smitten with Emerald Green (Pantone 17-5641 TCX) for as long as I can remember – and finally, finally, it’s going to be center stage again after at least 30 years in hiding (as deliciously detailed by Christina Binkley on the Personal Journal front page of The Wall Street Journal on December 6.)

My initial euphoria turned to smug (yes, I admit it!) satisfaction.  Why is this?  Just this Fall I had seen emerald green silk matka on the website of Waechter’s Fine Fabrics.    Well, I sent for a swatch and upon its arrival I speedily ordered three+ yards. I knew I would have to make a Spring suit out of this fabric.

This is the swatch I ordered from Waechter's Fine Fabrics

This is the swatch I ordered from Waechter’s Fine Fabrics.

Of course, this was before Pantone made its announcement. And although I still would have purchased it even if this shade of green were the “uncolor” of the coming year, I’m looking forward to being stylish, to boot!

But wait, that’s not all!

Much earlier in the year, I had purchased this yardage of Moygashel linen from an Etsy shop.  What attracted me to it was that emerald green is featured so dominantly in it.  I’ve shown this fabric before on this blog, but I could not resist showing another peek at it.  I still keep thinking it would make a gorgeous Spring coat… or pants.

The emerald green in this design really makes it pop!

The emerald green in this design really makes it pop!

Finally, this color – this Emerald Green – has given me the perfect opportunity to tell (and complete) a story about a dress I made for myself in 1980 – and share some wonderful, wonderful family news, too.  Here’s the pattern:

Yes - it is for a maternity dress...  from 31 years ago.

Yes – it is for a maternity dress… from 32 years ago.

And yes, I made it in Emerald Green:

With a few hang lines after 32 years!

With a few hang lines after 32 years!


A detail of the yoke. I chose two pearl buttons from my button box of 32 years ago to add a little interest.

This was a piece of Pendleton wool I picked up on sale in the Fall of 1980 when I was scrambling to make some dresses for my first pregnancy (our daughter was born in April 1981).  I loved the color and thought it would be quite beautiful over the holidays. In fact, two years later, when I was pregnant again (with our son), I wore it for our Christmas photo:


Our growing family, in 1982.

Whatever possessed me to save this dress, I’ll never know.  I actually saved all the maternity clothes I made for myself.  I dug them out of the cedar closet this Fall to show to our daughter (the little girl in the photo)– who (taa daa!), with her husband, is excitingly expecting their first child (our first grandchild!).  Whatever thoughts I had about the suitability of these dresses for “today’s” pregnant style made both of us laugh!  My daughter will not be wearing vintage maternity dresses, even if one of them is an au courant color.  But oh dear, the wheels started to turn in my head.     Hm-m-m-m, why not take this green “tent” and make a skirt for MYSELF out of it??  Wouldn’t that be a story to tell?

So now, I’m realigning my winter projects.  Come January I’ll be seeing and sewing GREEN.

By the way, Pendleton fabric yardage used to come with labels to sew into finished garments.  I never sewed the label into this dress, but here it is:

A pristine label, still attached to its card.

A pristine label, still attached to its card…

... with care instructions on the back.

… with care instructions on the back.

This time around I plan to use it!


Filed under 1980's dress patterns, Uncategorized, vintage Vogue patterns from the 1970s, woolens

My very stylish pants.

For several months I was watching a piece of Moygashel linen for sale by Revival Fabrics.  When I first saw this offering, I had the eerie feeling of déjà vu – I was sure I remembered seeing this patterned fabric in the late ‘60s or early ‘70s when I was a steady admirer and occasional purchaser of this brand of linen I love so much.  The piece that was being offered was three yards long, 44″ wide and included a Moygashel label.  The description accompanying it suggested making patio furniture pillows or tote bags with it, neither of which much appealed to me.  And actually, this suggestion threw me off a bit ; I wondered if it was drapery-weight linen, not dress-weight.  But the more I looked at it online (clicking close-ups of the images), the more convinced I became that it was dress-weight.  I finally decided to buy it, not really knowing what I was going to make out of it (maybe a sheath dress…?)

When the package arrived and I finally saw this linen in person, I was – so excited! It was gorgeous – and my suspicions were correct – it was definitely dress-weight.

Here is a lengthwise view of the linen.

Here is closer view of this amazing pattern.

My first thought after my initial euphoria was:  This would make up into fabulous ankle-length pants (worn with a black, yellow or khaki top – and of course my black and yellow Bakelite bracelet).  And yes, I was sure I would have the nerve to wear them!

I laid out the fabric with a black cotton knit top and my Bakelite bracelet just to see how it would look.

And here is the label which came with the fabric.

With my plan in place, I decided this would be my next project after I finished the one I was on.  Then something really amazing happened.  A fashion article in the May 3, 2012 edition of The Wall Street Journal caught my eye.   Christina Binkley, one of the newspaper’s fashion reporters, headlined her weekly column “On Style”  with The Pantsuit Takes a Walk on the Wild Side.

I don’t like any of these fabric designs as much as I like my Moygashel linen!

I’ve never been a fan of pantsuits, but some of the fabrics featured had that same ‘60s’ feel as my new vintage linen.  The reporter rightly questioned how well these head to toe outfits would “play on the streets”, but then she added:

“…at least one mainstream retailer will highlight the idea that the pantsuit can be worn as separates…  There will be more busy pants than busy jackets.  ‘There may be women who wear it head-to-toe – very daring,’ says Sak’s Ms. Sherin.  ‘But for us, it’s probably about the patterned pant’.”

Then, Ms. Binkley suggested:  “The key to wearing this trend is not straying too far from your safety zone.  Stick to colors and patterns you will still love in five years.  And let the bold pattern do the talking – go with a conservative fit if you’d rather not be the center of attention.”

Further:  “It’s probably not a coincidence that wild pantsuits are appearing just as ‘Mad Men,’ the style-influencing television show, is entering the psychedelic phase of the ‘60s.”

Well, my linen fabric is far from psychedelic, but it is bold – and reading this article certainly did validate my plans for making pants.   I also already knew the pattern I wanted to use, one quite appropriately from the early to mid ‘60s!

I really like all the styles featured on this pattern – the coat, the two blouse variations, the cummerbund –and the “conservative” pants.Classic looks – all of them!

Okay – I was ready to start this project.  First I washed the linen in cool water, delicate cycle, and dried it on medium heat.  This way I know my pants are totally machine washabIe.  Next I made a muslin of the pants pattern to check for fit.  I should have done a little more measuring first, as the crotch was too deep and had to be redrawn.  Also, although I like slim-ankled pants, these were just a bit too slim, so that was another adjustment.  I ended up making muslin #2, which was much closer to the final version from which I cut my pants.  However, I had made so many adjustments, that I decided to copy the final pattern onto freezer paper. (Freezer paper is my secret sewing friend – the dull side provides a wonderful surface upon which to draw in pencil and the shiny side can be ironed to fabric to cut out appliqués or anything, really, and then easily removed.  And the long continuous roll of paper is perfect for long pattern pieces like pants, coats, etc.)  The good news is that now I have a pants pattern that fits really well with the slim, but not too slim, legs that I like.

During construction, I tried on these pants about a ga-zillion times.  This fabric was just too dear to make any mistakes, and the more I tried them on, the more I liked them.  Here they are, all finished.

I’d say these are definitely bold!

Here is my outfit, complete with Bakelite bracelet.  (I think the camera angle makes the legs look different lengths??)

A close-up of same, with the earrings I’ll also wear with this outfit. (Click on the image).

Here is a view of the waistband and zipper.

And here is the final touch – the label attached to the inside back of the waistband!

How neat is it to sew something up in vintage fabric, using a vintage pattern – and be totally stylish in 2012? And – I still have enough of this fabric left over to make a skirt.  Hopefully that will be very stylish, too, whenever I get around to making it!


Filed under Bakelite buttons and/or jewelry, Coats, Linen, Uncategorized, vintage Vogue patterns from the 1960s, Vogue patterns

What would Christian Dior do?

Without a doubt, the two dresses featured above left in my blog heading were inspired by the designs of Christian Dior.  This return to the feminine silhouette was led by Mr. Dior, starting in 1947, and it continues to influence fashion to this day.   In 1954, he published a small book entitled The Little Dictionary of Fashion, which was reprinted in 2007 by Abrams (and available at Amazon.).

Some of the language and expressions in this little book seem a bit old-fashioned, but it contains a wealth of information and advice.

It is really a combination of fashion and sewing terms, accompanied by his philosophy of life.   Here is a sampling of topics:

Bodices:  “… the most important part of any garment….”

Cosmetics:  “… play a very big part in the secret of beauty, but they mustn’t show…”

Emphasis:  “If you have a particularly outstanding feature it is always a good thing to emphasize it….  The whole of fashion is emphasis – emphasis on woman’s loveliness.”  [I think this is very sweet!]

Handbags:  “ A very important accessory and used with not enough care by too many women.”

Jackets:  “…must always be worn with a slim skirt…”

J is for Jacket!

J is for Jacket!

Key to Good Dressing:  “There is no key…  but simplicity, grooming and good taste – [are] the three fundamentals of fashion…”

This Dior outfit is described this way: "simple black suit, matching gloves and muff, and hat and scarf, in vivid cerise." Dressing beautifully, indeed!

Materials:  “You can never take too much care of the materials you choose to make a dress…”  [In this entry, he seems to be addressing the home sewer!]

Pockets:  “… pockets are very useful to help you to do something with your hands if you are embarrassed and don’t know what to do with them.”

The Way You Walk:  “… can make or mar your clothes – cultivate gracefulness.”

And my favorite:

Zest:  “…You have to live with zest — and that is the secret of beauty and fashion, too.”

Although Mr. Dior died in 1957 at the height of his career, his eponymous couture house has, as everyone knows, continued over the years under the direction of many different artistic directors.  Just this week the newest Creative Director for the House of Dior was announced.  Although I am a casual follower of current fashion (mostly to see how the vintage looks influence today’s looks), I was pleased to see that Mr. Raf Simons has been selected to head Dior.  I thought the designs he did for Jil Sander  over the past few years were among the most flattering that have appeared on the runway.  His selection is detailed in a fascinating article by Christina Passariello, which appeared in The Wall Street Journal on Tuesday, April 10, page B4.  (By the way, The Wall Street Journal has terrific fashion coverage and advice, specifically in the Thursday and Weekend editions, as well as other times.)

Here is what the cover of Vogue Pattern Book magazine looked like in October, 1957, the month and year of Christian Dior's death.

Mr. Simons’ first designs for Dior will debut in July.   I wonder if he is now asking himself “What would Christian Dior do?”


Filed under Uncategorized