“Walk like you have three men walking behind you” – Oscar de la Renta

When you think of grand ball gown designers your mind immediately gravitates towards the names Dior, Balenciaga and Balmain. But not many people would think of the great American designer Oscar de la Renta. He did not come from European decent, nor grace the world with stunning couture pieces during the Golden Age, but his talent and flair for the feminine silhouettes is nothing short of stunning. A grand American designer, de la Renta is best known for his powerful women’s suits and striking ball gowns.

Born on July 22^nd 1932, in the capital of the Dominican Republic in the Caribbean Islands, de la Renta grew up surrounded by lush tropics and vibrant colours. He had six sisters, and the siblings lived in a middle class home with their parents. Not much else in known about de la Renta’s early life, until the age of eighteen, when he moved to Madrid to study painting at the Academy of San Fernando. De la Renta had a passion for the arts, and wanted to become an abstract painted. But he soon found a new love for fashion illustrations, and was extremely talent at it also. Nurturing this new found love, de la Renta was extremely fortunate when he landed an apprenticeship with non-other than Spanish royalty Cristobal Balenciaga. It was just prior to his engagement with Balenciaga in 1950, that de la Renta made a lavish debutante gown for the daughter of the US Ambassador to Spain. This gown was strikingly beautiful, and caught the eye of many admirers and fashion elite. So stunning, it was featured on the cover of Life magazine, which is when Balenciaga discovered this talented man, and de la Renta’s place in fashion was secured.

De la Renta apprenticed with Balenciaga throughout the 1950’s, and no doubt learnt many fine skills from this revered couturier. It was then in 1960 that de la Renta decided to move on, and chose the City of Light as his destination. Paris has always been and will continue to remain, the number one city in the world for Avant garde fashion and grand couture. So it was no surprise when de la Renta decided to experience all that Paris had to offer, and he began working as a couture assistant for Lanvin. De la Renta was surrounded by high fashion and master designing for the three years he spend at Lanvin, and the influence that this time had on his career can been seen in some of the lavish ball gowns de la Renta designed under his own label years later. In 1963 it was once again time to move on, and de la Renta chose to head back to the United States and began working for Elizabeth Arden. His close friend and mentor Diane Vreeland, who at the time was editor in chief of Vogue magazine, assisted in his transition and remained a strong supporter of his talents for years to come. At Elizabeth Arden, de la Renta was charged with designing couture gowns for the labels custom made business. No doubt Balenciaga and then Paris had a large influence here!

Finally after years of mastering his own skills and strengths, Oscar de la Renta opened a fashion house under his own name in 1965. He received much acclaim upon launching his own brand, and had major success with designing ball gowns in the early years. Many of his clients were wealthy married women who had a desire to be seen in the most lavish and outlandish of attires to prove their status in society. Many of the gowns de la Renta designed for these women were accentuated with ruffles and bows over what was a simple and romantic silhouette. As de la Renta’s career continued to flourish, so did his personal life. In 1967 he married French Vouge editor Françoise de Langlade, and the two became known as the power couple of the time in fashion. The couple were regularly photographed and featured in magazines the world over, and his wife had a strong influence over what de la Renta designed. Tragically in 1983, Francoise de Langlade passed away. A couple of years after her passing, de la Renta decided to adopt a child from an orphanage in his home town. He and his wife had for years been strong advocates for this orphanage and offered it financial support as well. It seemed only natural to de la Renta to give himself so generously to the cause and to his new son.

The success of Oscar de la Renta as a brand continued to grow throughout the 1980’s and beyond. In 1977, the brand launched its first perfume, Oscar, which continues to be a big seller in today’s market. The fragrance line has now divulged into catering for both women and men, and its varying scents are sold in seventy countries around the world. Other areas in which de la Renta chose to lend his name to, include sportswear, plus size clothing, bags, eyewear, men’s accessories and furniture. All of these lines debut in the mid to late nineties and into the early two thousands. De la Renta also saw a gap in the market in 2004, when he chose to release a diffusion line called O Oscar. This range of ready to wear clothing appealed to a wider market who had always wanted to wear designer clothes but could never afford the price tag. This diversion from the main brand de la Renta started was a great financial decision for his business, bringing in over $400 million dollars annually during the 1980’s and 1990’s.

If we take another look at just the fashion success of Oscar de la Renta, there are many wonderful things to discover. In the 1980’s the brand became well known for its high end tailoring of women’s suits. The eighties was the time of the power suit, and de la Renta certainly played a part in this. His suits were cut well and close to the body, and exhibited features of quilting and bold colours. Also during the same period, de la Renta became the preferred designer of First Lady Nancy Regan. He designed many gowns for her during this time, and she more often than not wore one of his creations to all official engagements. His connection with American First Ladies continued throughout the years, designing inauguration attire for Hilary Clinton in 1997, and Laura Bush in 2005.

In 1992, de la Renta took on a new challenge, reviving the couture line of a diminished Paris fashion house. From then until 2002, he designed for Balmain in both couture and ready to wear. He did this not under his own name so not to take away from his own brand. De la Renta’s first show for Balmain came in February of 1993, featured spring wear. The pieces were very wearable, elegant, contemporary, and sexy with polished touches. It was the first time an American had designed for the French label, and was very well received. After the end of his collaboration with Balmain, de la Renta added bridal wear to his own brand. In 2006 the Oscar de la Renta Bridal Collection was born, and featured heavy ornamentation and embroidery. The famous character Carrie Bradshaw from Sex in the City, wore one of these bridal creations in a photoshoot for American Vogue at the time of the film’s release.

In 2014, the great American designer was slowly winding down, and decided it was time to hand the reins over to his successor. Peter Copping was appointed as head designer, with de la Renta’s family all being very closely involved in the business as well. His son also chose a career as a designer. A week after de la Renta officially retired, he passed away at age eighty two from cancer. The legacy that he created continues to shine today. He shall always be remembered as one of America’s greatest designers, and the brand he so lovingly nourished, will forever remain part of fashion history.

Love Always, Anastacia Rose xx

“In difficult times, fashion is always outrageous” – Elsa Schiaparelli

There is a female designer and entrepreneur from the 1920’s that many in the modern fashion world don’t know about, or have simply forgotten. She was a woman of grand talent, who thought outside the box and invented some fashion staples that we now take for granted. Sadly her most enduring legacy is that of a perfume bottle shaped like a woman’s body, and the glorious colour known as “shocking pink”. This woman is someone I have heard mention a few times before along my own fashion journey, but whom I knew little about. Since reading a biography penned by Meryle Secrest, I have since discovered the amazing woman who was Elsa Schiaparelli. If this woman had not contributed to the fashion world as much as she did, we may not have evolved from the constraints of female clothing in the early 20^th century.

When you read the story of Schiaparelli’s early life, it differs greatly from her rival Gabriele Chanel. Schiaparelli was Italian, born in Rome, her mother a Neapolitan aristocrat and her father an academic scholar. Many of her extended family members were also credited as highly intelligent and contributed to such things as astronomy and philosophy. A young Schiaparelli was largely influenced by those around her, and read often to further her knowledge. With a vivid imagination, Schiaparelli penned a volume of poetry which alarmed her mostly conservative family. They chose to ship her off to a convent boarding school in Switzerland to try and tame her fantasies. Schiaparelli did not like her new surroundings, and went on a hunger strike in protest. Her parents had no choice but to bring her home. Even though she lived a very comfortable and refined life, Schiaparelli was somewhat dissatisfied, and went abroad to England and then France to explore and satisfy her cravings.

It was whilst in London that Schiaparelli met her husband and became engaged after only one day. The couple wed in July 1914, and spent their early years together moving around. He husband, William de Kerlor, became known as a fraud and rip off merchant. Five years after their marriage, they had their only child together, a daughter know as Gogo, in 1920. It was after her birth that Schiaparelli found herself abandoned, raising their daughter on her own. The two women lived in New York for a couple of years, and were financially supported by Schiaparelli’s parents, before Elsa and Gogo moved to France in 1922. Upon their arrival in Paris, Schiaparelli moved into an expansive apartment, and was greatly accepted in the French aristocracy due to her family heritage. Even though she was financially stable, Schiaparelli decided she must make her own income and achieve something with her life. This was when her association with artists such as Man Ray and Dali came to life, and the great surrealists continued to influence her work for decades to come.

With no formal training, Schiaparelli turned her hand to fashion, and thankful we shall ever be!

Her early inspiration came from Paul Poiret, whose designs had begun to give women freedom of movement. Without the knowledge of patternmaking, Schiaparelli created her designs directly on the body, using draping techniques on mannequins and sometimes herself. She was assertive and eclectic and wasn’t afraid to try things never before seen. Even though her initial trial in fashion was favourably viewed, she decided to close her then small business in 1926. A year later, Schiaparelli shot to stardom when she returned to the fashion scene with never before seen knitwear designs. This knitwear showcased what’s know as a trompe l’oeil motif, an art technique that uses realistic imagery to create an optical illusion. The sweater that became famous, gave the view of a scarf draped around the models neck, however it was all knitted into the one piece. This sweater was predominately made in black and white, but later reproduced in an array of colours. It was adopted by female sporting stars of the time as their uniform because it was easy to move in. Following on from this initial success, Schiaparelli in 1928, designed a range of sports ensembles, as well as swimsuits and beach attire. Ski suits and evening dresses were also seen in her collections of the time. This designer was somewhat versatile! In 1929, Schiaparelli first shocked the world of couture by using zippers as visible notions, sewing them into sleeves, necklines and front openings.

Moving into the early thirties, Schiaparelli continued to achieve gold in the fashion innovation stakes. She widened women’s shoulders on suits and coats, and decided it was time that we no longer had to pull a dress on over our heads. The wrap dress first appeared in 1930, and has played a huge part in fashion history ever since. It was also this same years that Schiaparelli showcased evening dresses with matching jackets, so simply but never before seen. She also developed a one piece bathing suit for women that had a built in bra. By 1932, the House of Schiaparelli employed 400 staff across 8 ateliers, including a ready-to-wear boutique. In 1934, Time magazine put Schiaparelli on the cover, and it was the same year that a full perfume collection was released. With the continued growth of her business, Schiaparelli moved addresses to the famous 21 Place Vendôme, and turned the newspaper articles raving of her triumph, into a print for her latest collection. It was also in 1935, that her first collaboration with surrealist Salvador Dali was exhibited. The remainder of this decade saw Schiaparelli’s line of jewelry take off, and the first short evening dress was seen on the runway. 1937 was certainly a year of statement for the Italian born designer, as she released her most famous perfume, “Shocking”, as well as patented the vibrant hue known as “Shocking Pink”.

Moving into the 1940’s, many in the world of couture were suffering hardship due to the Second World War. Schiaparelli however soldiered on, producing more innovative designs such as military jackets and mermaid silhouettes. It was also around the same time that the famous ‘Siren Suit’ was born. This was Schiaparelli’s answer to war time fashion. It was a suit that had many uses, and exhibited large and hidden pockets, so that the wearer could easily deposit items usually carried in a purse, into the ensemble to make it easier to move when those horrible sirens sounded indicating an attack from the air was on its way. At the beginning of the war, Schiaparelli spent some time in America, going on a lecture tour to discuss with followers her love and passion for fashion. It’s also believed by some that during the war years, Schiaparelli was working as a spy for the German Army, which is why she was allowed to move around so freely from one country to the next when everyone else was forced to stay put.

Finally after the war ended, Schiaparelli returned to Paris in 1945 to once again take the reins of her business and continue to triumph. In 1946, she released one of the first travel wardrobes for women, consisting of items that were easily packed and worn. The perfume business had continued to flourish during the wartime, and in 1947, an entire factory was opened and dedicated to the sideline. It was the same year that emerging designer Hubert de Givenchy joined the House and remained for the next four years. In 1949, many workers in the rag trade went on strike over a protest of wages and conditions. This impacted Schiaparelli’s business, but she did not let it stop her. When releasing her collection, she had no shame in parading it on the models whilst still full of pins, fabric swatches and no buttonholes. It was genius, and the fashion world lapped it up!

The House of Schiaparelli continued to make headlines into the 1950’s, with new designs of tuxedo dresses, diagonal buttoning and lingerie all taking center stage. Schiaparelli was also a woman who saw the endless possibilities in what she could put her brand name to, and in 1952 released a range of glasses with her name on them. This venture into other forms of fashion items other than couture was significant in the success of Schiaparelli, and in 1953 alone, 18 million items were sold with the shocking pink logo on them! Hollywood also came calling on Schiaparelli during the early 1950’s, and she designed costumes for a few motion pictures, including Zsa Zsa Gabor’s wardrobe in Moulin Rouge. By 1954, Schiaparelli decided it was time to wind down, and sadly closed her fashion house. The perfume line continued however, and Schiaparelli retired to write her autobiography, Shocking Life. It was the same year her rival Chanel returned to the business.

Elsa Schiaparelli lived out the remained of her live in very comfortable fashion. She moved freely between her homes in Paris and Tunisia. She passed away on the 13^th November 1973, aged 83. The legacy that this extraordinary woman left behind is somewhat magical. Had she not been so innovative and daring, many discoveries in fashion may not have taken place. In the decades since her passing, Schiaparelli continued to be a giant of the fashion empire, and in 2012, New York’s Metropolitan Museum of Art featured her work in a major exhibition. It was after this, in 2013, that details of the brands revival became public. The House has been nominated for a return to the Chambre Syndicale de la Haute Couture list of members, and presented its first show in January 2014.

Love Always, Anastacia Rose xx

“If there’s no such thing as Santa, I’ll have the red Lady’s Companion” – Orry-Kelly

There once was a small town Aussie boy who used to dream about Hollywood. He would also dream of Singer sewing machines, of spools of vibrant silk threads, of feather boas, sequins and glitter. And he turned these dreams into his reality, and became one of the best costumes designers the world has ever seen. For years he has been relatively unknown to those outside the industry, but slowly the rest of the fashion world is starting to learn about the Australian rascal who was Orry – Kelly. He became a Hollywood legend, won three Oscars, dressed all the stars, and had a cheeky Aussie way of living. Through his memoirs that have been discovered in recent years, we have finally been let inside the world of this flamboyant designer, and it’s been a joy to learn all about Orry –Kelly and the legacy he has left behind. This blog is a small insight to the colourful life he led, the fine dames he dressed and some if his inside secrets. I hope you find delight in reading it as much as I’ve enjoyed writing it!

Much of my research for this blog has come from Kelly’s memoirs that were published in 2015. “Woman I’ve Undressed”, is an eye opening read into the vivacity of Kelly and those who came and went from his life. Born in the New South Wales coastal town of Kiama, Australia on New Year ’s Eve 1897, Orry George Kelly was the son of a tailor. As a young boy living in rural Australia, it was much frowned upon that his interests lay with dolls, clothing and his Lady Companion, a sewing machine that Kelly saw in a shop window and begged his mother to buy for him. Kelly once recalls his father destroying all the things he loved, and throwing him outside to do some manual labour, something a young boy should be doing instead of playing dress ups. At age seventeen, Kelly was sent to Sydney to study finance and banking, and it was here in the big smoke that his love for theatre, art and nightlife flourished.

During his time in Sydney, Kelly lived a tough life. Having no to minimal money, he begged and borrowed to make ends meet. He was a regular on the nightclub scene in Kings Cross, where he associated with Sydney’s underworld. His love for the theatre was ever present, and taking a chance, Kelly found his way to New York. Chasing his dreams, Kelly once again found himself dabbling with many of Hollywood’s more sinister clientele. Bootleggers, prostitutes and gamblers where just some of the company that Kelly kept. Renting a small apartment in New York, Kelly was making and painting silk ties during the day, and partying all night long in seedy Speakeasy’s. One night, while Kelly was still at home, a chance meeting occurred between Kelly and budding actor Archie Leach. The two became friends, with Leach moving in to help with the rent and also assisted Kelly with his tie business. Kelly’s talent for painting was soon noticed, and he went from painting ties, to painting murals on the walls of nightclubs. Some of his most famous murals involved monkeys getting up to mischief, much the same as what Kelly did himself!

After a brief stint running a Speakeasy himself, Kelly and Leach moved to Hollywood in 1931 where they could both pursue their dreams. Archie Leach struck success first, being cast in small motion picture rolls before the big time came calling. This was when Leach left Archie behind and became known as Cary Grant. Along the way, the two friends had become somewhat close, engaging in a relationship that was on and off for years. It’s reported thought that Grant decided he had outgrown his friend, and the two drifted apart. Kelly continued on his path of art and design, and had been producing stage sets for theatre productions. With an armful of sketches, Kelly was hired by Warner Brother’s in 1932 as a costume designer, and remained there as head of the department until 1944.

During his time at Warner Brother’s, Kelly quickly became known as one of the best in the industry. Later his work was also seen in productions by 20^th Century Fox, MGM and Universal. In a career that spanned over 30 years, Kelly had earned the credit for 295 films! Some of the biggest stars of Hollywood at the time were dressed by Kelly, including Bette Davis, Ingrid Bergman, Jane Fonda and Marilyn Monroe. Kelly’s work was known to ‘design for distraction’, meaning he used his skills to disguise women’s figures that were not entirely what the director of the film was after. Throughout his career, Kelly won three Academy Awards for his work on the films An American in Paris (1951), Les Girls (1958) and Some Like it Hot (1959), where he so convincingly dressed Jack Lemmon and Tony Curtis as women, that they went unrecognised when entering the female bathrooms! Other notable films in which Kelly worked on were Casablanca (1942), The Maltese Falcon (1941) and Oklahoma! (1955).

During his time in Hollywood, Kelly was committed to a brief stint in the American Army at the time of the Second World War. Not being an American citizen at the time, Kelly was confided to local duties. He managed to bide his time here by spending much of it intoxicated, and was soon released on medical grounds as being unfit to continue on. Kelly also became known for his fashion column which he wrote for a local newspaper. “Hollywood Fashion Parade” was published in the International News Service, and provided women with hope and inspiration during the war years.

In 1964, after a long and sometimes infamous career in Hollywood, Orry-Kelly died from liver cancer. It is believed that his many years of partying hard and drinking till dawn led to his passing. But one thing is for sure, Orry-Kelly would not have wanted to live any other way! At his funeral service in Los Angeles, his pallbearers included Cary Grant, Tony Curtis, and directors Billy Wilder and George Cukor. His eulogy was read by Jack Warner. A life that was never dull, Orry-Kelly certainly left his mark on the world of costume and film design in Hollywood. A true legend now, the boy from Kiama never let anyone sway his determination or extinguish his very bright and colourful spark. Thank you Orry-Kelly, for showing me and the world that you can achieve your dreams if you only just believe!

Love Always, Anastacia Rose xx

I love the drama of a hat …

 

 

 

Hats are glorious. They’re a finishing touch to an outfit. They’re a sign of wealth and stature. They’re a must have accessory during the Spring Racing Carnival. Some are functional, and others not so much. They are a work of art, and they are so much fun to make! I first discovered my love of millinery when I was studying fashion and design at university. One of my subjects was millinery which I knew little of before I started. But once I was shown the art of constructing a hat, and the endless possibilities that you have in creating one, I simply fell in love with it. Hats and headwear have been around for centuries. From the Middle Ages when they were used as a form of protection, to current trends that see them on the track during horse racing events, hats have had many reincarnations over time. From royalty to aristocrats and then down to everyday people like you and me, the art of millinery and hat wearing is a trend that I certainly hope will continue for many years to come.

The history of the hat has been a long one. They became popular in Britain in the 14^th and 15^th centuries, however, headwear was worn long before this by our ancestors. The Pharos of Egypt used to wear glorious and elaborate head pieces as a symbol of their rank and stature in society. In ancient Greece, winners of the Olympic Games were given wreaths made of olive leaves to symbolise their importance and their achievements. In Mediterranean cultures, women wore headscarfs, veils and wraps as a sign of modesty, religion and marital status. And Royal families from all different countries have always worn crowns to display their rank in society.

The term ‘milliner’ was first used in London and was derived from the Italian city of Milan, where the finest quality straw was woven into hats. It was men who firstly began to wear hats in 1700 England. The top hat was at first a structure that was not accepted by society as it was imposing and intimidating to those surrounded by the wearer. But it was soon accepted into Victorian society when Prince Albert adopted the style in the 1850’s, and has ever since remained a stylish accessory for any man in a position of power and wealth. During this same period, woman of the same class where expected to wear hats, mainly bonnets to protect their delicate skin form the sun. Such bonnets were made from straw or cardboard, and tied with a ribbon underneath the chin to keep it in place. The size of them varied during the 19^th century, as did the fabrics used to cover them, and the plumes of feathers used on some as decoration. Headwear remained popular among the upper class until the arrival of the parasol, which then provided women with another form of protection from the elements.

Moving into the 1900’s, women’s hats were still part of their ensemble, however the shape had begun to change. Boaters, trilbies and cloche styles gained popularity, and were more accommodating to the change in women’s hairstyles as time evolved. The fabrics in which they were made out of also evolved, and now included the finest silks, wools, felts and straws, and saw the embellishments adorning them include ribbons, feathers, flowers and beading. The uprising of World War 2 saw a demise in elaborate hat wearing, as they were seen as an unnecessary display of wealth during times of hardship by the majority of society. Working women found it difficult to complete their jobs while wearing a hat, and it was a nuisance to be running to and air raid shelter while trying to keep your hat in place. Barriers of etiquette became broken down and although hats were not rationed in order to boost morale, their wearing decreased.

Post WWII, and the arrival of ready to wear fashions saw the love of millinery change position. Women no longer went to their couturier or personal milliner to attain their seasonal wardrobe, but chose to purchase their outfits from high street stores. It was during the 1950’s and 1960’s, that styles such as the pillbox were popularised due the celebrity endorsements of Jackie Kennedy and Audrey Hepburn. If the First Lady of politics and the First Lady of Hollywood can wear one, then so too did many women of the decade. During the 1970’s, the art of millinery lost its way again, as fashion and trends of the decade moved away from structured headwear. It wasn’t until the 1980’s that hats once again became a popular item, and this was thanks to the royal influence of Diana, Princess of Wales. When Lady Diana Spencer joined the royal family, she had to adhere to their dress code. All official outings required a hat matching the chosen outfit, a tradition that has remand part of royal protocol for centuries. Queen Elizabeth still to this day wears a hat to most official engagements, and in her time at the throne, has reportedly worn over 5000 different styles!

In today’s modern world, hats have become more of a casual item. Women, men and children use them regularly in the warmer months to protect themselves from harsh sunlight, and during the colder months we don a hat to keep the warmth in. There is one time of year however, when hats once again take on their glorious past. Racing carnivals around the country, be it spring time in Melbourne or the autumn events in Sydney, are a plethora of all things I love abut millinery. It’s a time when women can spend hours, and large sums of money, on getting just the right headpiece to complement their outfit. Or if you’re like me, I start with my headwear and design my outfit accordingly. The Melbourne Cup Carnival is Australia’s premier racing event, and the grandest of opportunities to show off all that is wonderful about fashion and millinery. In recent years, styles have changed from large, bold and embellished hats, to smaller and more refined fascinators, and at this year’s carnival, many women sported headbands with subtle detailing.

I was fortunate enough to inherit some stunning pieces of millinery from my Great Aunt a few years back, and chose this racing carnival to bring them out of the tissue paper and let them see light again. An assortment of colours and styles they were, including red felt in a riding style, soft pink silks with ruffles, pale green feathers and veiling, peach inspired pillboxes and navy florals. These hats have a history of their own to tell. My Great Aunt was a woman of immense style and grace, and being an important member of her local community, always sought to dress in her finest. The labels of these hat makers date back to the 1950’s, and include Mr James of Sydney and Harbig (Melbourne-New York-Paris). Unfortunately when trying to research these labels, I have come to a dead end. If anyone has any information on the history of these milliners, I would love to hear about it!

       

From studying millinery myself, I have made a number of hats over the years for myself and for some stylish clients. I learnt to craft the crown and brim of a hat on traditional wooden hat blocks, using wool and canvas. I’ve also created pieces using wire, sinamay and straw, and most recently used leather to embellish these works of art. Veiling too is one of my favourite trims to use, and the plume of an ostrich or peacock feather can never go astray. I’ve worn hats to every race day I’ve ever attended, some large, some small, depending on what the season calls for. I’m also known to wear a stylish headpiece for a wedding or simular significant event. And during the cooler months of the year, I’ll always have my trusty red felt cloche not too far away!

So next time you see a stylish hat perched on top of most likely a very stylish woman, take some time to appreciate it. The art of millinery hold such a significant history and entails a very creative and skilled mind to construct one. They are a symbol of class, status, season and style. They can be practical or purely visionary. They can be coloured, neutral, and everything in between. They can be fun, sassy, silly and downright glorious. Hats are amazing, and I for one will also be in love with them!

Love Always, Anastacia Rose xx

 

” I know what women want. They want to be beautiful” – Valentino

Imagine the excitement and thrill of having Jacqueline Kennedy as the woman who made you famous. Imagine her buying every single outfit you showed her on your very first private viewing. Imagine the responsibility of dressing her on her wedding day. Imagine the style, elegance, beauty and sophistication she would bring to your label, and the world wide press coverage that you would receive. All of this sounds wonderful to me, and that’s exactly what happened to Italian designer Valentino! Jackie O quickly became Valentino’s number one fan, and bought huge success to the fashion house, launching the designer onto the American market. It is the collaboration between designer and muse that is so special, so pure, and this partnership in particular was paramount in the world of fashion.

Most of the designers who have been inspirational to me on my fashion journey have been the greats who exploded onto the scene during The Golden Age of Couture. But one designer who came afterwards has been just as influential to me. Although he started his career in the early 1950’s, alongside Dior, Balenciaga and Laroche, Valentino did not own the world of fashion until the following decade, and continued to make explosive footsteps in fashion until his retirement in the mid 2000’s. Valentino Garvani was born in a small Italian town called Voghera in 1932. He grew up living a very abundant lifestyle, wanting for nothing from his parents, and recalling himself as a very spoilt child. He knew from a young age that the world of couture was calling him, and his passion was both approved and encourage by his parents. Whilst a teenager, Valentino expressed his desire to have his own custom made shoes and clothes. In the post-war period of the late 1940’s, Valentino discovered the art and glamour of Hollywood motion pictures, with the likes of Lana Turner and Judy Garland, adding more fuel to his already ignited passion for fashion. It was through this discovery that Valentino’s future was decided.

Valentino graduated from high school and soon after took a six month course in fashion design in Italy. His determination and enthusiasm to follow his dreams was so ferocious, that he told his parents at only eighteen years old, that he was moving to Paris. With his natural born talents, Valentino made the move to the French capital in 1950, when the House of Dior was at the height of the Golden Age. Valentino marvelled at this ‘New Look’ that had taken over the world of couture, and recognising he had entered Paris at just the right time, enrolled at the prestigious Ecole de la Chambre Syndical de la Couture Parisienne. Whilst furthering his studies, Valentino mastered his craft and learnt new techniques to bring to the world of fashion. Upon graduation, he applied for apprenticeships at Jaques Fath and Balenciaga. Valentino was soon hired by another couturier of the decade, Jean Desses, and remained at the house for five years, alongside Guy Laroche. After Laroche went out on his own, Valentino soon joined him at the House of Laroche. Being a much smaller firm, Valentino was able to be involved in all aspects of the business, from sketching to running errands, and gave the young Italian a solid foundation to take home with him to establish his own brand in Italy.

With his drive to succeed, and the unfailing support of his parents, Valentino opened his first couture house at 11 Via Condotti in Rome. His first collection was released for spring/summer 1959, with the press making sure that his Parisian training was well covered. The following year, one of his financial backers withdrew, which opened up the door for a fresh new influence to arrive. Giancarlo Giammetti was studying architecture at the time, but realised the potential of the House of Valentino, and soon invested in the business, becoming Valentino’s right-hand man and faithful companion for the remaining years. It did not take long for people to recognise the Valentino world of opulence and luxury, with actresses, royalty and aristocrats soon knocking on the front door of the saloon. In the early sixties, Italian fashion was starting to take off, with American buyers traveling to the Roman Empire to view collections and place substantial orders. Valentino was producing a ready-to-wear collection, with some American department stores placing orders for 300 plus dresses per season. There was money to be made on the American market, with Valentino and Giammetti frontrunners in the game.

In September 1964, Valentino showcased a collection at the Waldorf-Astoria Hotel in New York. This was the beginning of his love affair with Jacqueline Kennedy. The former First Lady placed an order for one of every piece in his collection, to be made in black and white. This event was truly monumental in Valentino’s career, and in the landmark year of his career in 1968, Valentino designed the wedding dress for Jacqueline Kennedy for her marriage to Aristotle Onassis. The pair would remain muse and designer for years to come.

In the 1970’s, the Italian fashion industry was in trouble, with the only exception being Valentino. The label continued to have grand success on a global scale. The very first scent released by the house was during this period, with the launch party being nothing short of extravagant. The Valentino brand continued to diversify, creating various franchises including handbags, shoes, belts, ties, luggage and umbrellas. At one point in time, the Japanese market contained more than forty franchises alone.

Valentino became synonymous with one particular colour during his career. Red. Although he released many collections in black and white, the vibrant shade of red was always featured somewhere in his works. The colour red symbolises passion, love and romance, with every collection released by Valentino since 1959, having at least one red masterpiece included. The House of Valentino now has a diffusion label under its brand called Red Valentino, with boutiques here in Australia and across the world. Valentino is also known for his feminine silhouettes, making any woman fortunate enough to wear one, be overwhelmed by elegance, grace, beauty and sophistication. Valentino is a popular choice around award season in Hollywood, with many fine dames being lucky enough to wear a piece of Valentino history.

After fifty years in charge of his business, Valentino decided it was time to retire the pencils in 2008. In his last fashion show, nine hundred guest were invited to this most enchanting evening in Paris. Under a full moon, Valentino took his last bow to a standing ovation. Becoming a premier Italian fashion brand, Valentino proved that Italy could rival Paris when it came to the world of couture, and that the world of fashion was indeed universal. Today, the name Valentino is still spoken about with gusto and flair in the ever expanding rag trade. Valentino has never been about high fashion, but about making a woman sensual and seductive. It’s about how themes and variations may change, but the underlying element of a woman will never change.

Love Always, Anastacia Rose xx

“Nothing is impossible. The word itself says I’m possible” – Audrey Hepburn

There are a few women in history who I admire. Women who were powerful yet graceful, strong and yet sweet. Women who lived their own lives and made their own rules. And all, were style icons of their time. These women were in a field of their own, an elite breed who capture the world and who the world has never forgotten. They achieved amazing things in their time, and have left a legacy that followers and fashion admirers like myself will be forever grateful for. Their names are Marilyn Monroe, Grace Kelly, Sophia Loren and of course Audrey Hepburn. All of these women were at the height of their careers around the same time, when the Golden Age of Couture was ripe, and these stunning beauties were live models for this epic time in fashion history. Over the years as I have lived and breathed the world of fashion and the decades from 1920 – 1960, I discovered these women and the contributions they made. But of them all, my one and only has always been Miss Audrey Hepburn. Her attitude, energy, gracefulness and feminine style has been truly inspiration in my work in fashion, and also in my journey to find my own unique style.

Audrey Kathleen Van Heemstra Hepburn-Ruston, was born in Brussels on 4^th May 1929. Her father was British and her mother Dutch. They lived an affluent life, and Audrey spent her early childhood moving between England, Belgium and Holland due to her fathers work. In 1935, when Audrey was only six, her parents divorced, which Audrey recalled as one of the most traumatic times of her life. Audrey was not your typical young girl growing up. She much preferred to play outdoors with her brothers and with animals, than to play with dolls and dress ups. She was also an avid bookworm, and learnt piano for a time. Audrey was known as an introverted child, very shy and humble. At the age of only five, Audrey’s mother sent her to boarding school in England, to try and ‘shock’ the child into reality, and to also improve her English and to gain a solid and aristocratic education. It was here at boarding school that a young Audrey discovered the art of dance, and had promising attributes in ballet. But the rise of war put a sudden end to Audrey’s life in England, with her mother removing her from school and taking her back to Arnhem in the Netherlands, believing it was the safest place to be. Audrey never saw her father again after she left England.

Sadly though in 1940, the Netherlands was overrun and the country fell under Nazi occupation until liberation in 1945. During this time, Audrey went to school at the Arnhem conservatory where she also studied ballet. Whilst the war was occuring, Audrey often danced in public spaces to raise money for the underground movement. Audrey’s experience of war remained with her for life. She witnessed family members being shot in the streets by the German’s, and recalls seeing train loads of Jewish children being herded up like cattle for deportation. In 1946, Audrey read the diary of Anne Frank, and noticed similarities between the two of them, and the suffering they endured at the hand of the Nazi’s. But Audrey was one of the lucky ones, and after years living under the duress of war, was fortunate enough to return to England and continue her studies in ballet. She tried her hardest to become a ballerina, but her height and malnutrition from the war worked against her, and unfortunately she didn’t succeed. It was now that Audrey turned her focus toward acting, and we shall be forever grateful that she did!

Hepburn began acting on stage, in theatre productions in London’s West End. She first landed roles as chorus girls before moving on to slightly larger parts. Around the same time, Hepburn began acting in feature films, again with small roles that didn’t receive any credits. At age twenty two came Hepburn’s first break. She scored a leading role in a Broadway production in New York. Gigi was a defining moment in Hepburn’s career. Set in Paris in 1900, she played the leading role of a young girl who chose to rebel against her family’s wishes and seek out her own life. Hepburn worked hard leading up to opening night, having to improve all aspects of her acting to satisfy the director. Some days, eighteen hours of rehearsals was not uncommon. But the hard work paid off. Gigi received rave reviews after it premiered, with some reports claiming Hepburn to be the acting find of the year.

Not long after her debut on Broadway, Hepburn landed a role in a feature film that would be the beginning of her illustrious career. She was chosen to play the role of a ballerina in a film called Secret People (1952), and it was during this filming that she was discovered by legendary director William Wyler, who though Hepburn’s elfin beauty and gracefulness was just what he was after for the lead role in his new motion picture, Roman Holiday (1953). Hepburn made a perfect English princess alongside Gregory Peck, and her performance proved worthy of an Academy Award for Best Actress. This starring role and recognition placed Hepburn among Hollywood’s elite, and for years to come she played roles opposite many of Hollywood’s leading men, including Humphrey Bogart in Sabrina (1954) and Fred Astaire in Funny Face (1957). Hepburn also chose to return to the stage from time to time, and in 1954 played the starring role of Odine alongside male lead Mel Ferrer. The two formed a close bond off stage as well, with the couple marrying on September 25^th 1954 in Switzerland. During Hepburn’s career she also took on more dramatic roles, such as War and Peace (1956), The Nun’s Story (1959), and The Unforgiven (1960).

Of all the films that Hepburn made during her career, and there were twenty seven of them, there will always be one film that she will be mostly recognised for. Hepburn’s role as Holly Golightly in Paramount’s Breakfast at Tiffany’s (1961), is one of the most iconic films ever made.   Her starring role as a New York girl for hire who then falls in love with a budding novelist, is a classic in the motion picture archives, thanks to Hepburn’s amazing performance, and her wardrobe which was constructed by good friend and costume designer Hubert De Givenchy. The iconic little black dress in which De Givenchy designed for Hepburn to wear, is a stunning piece of tailoring that will be forever remembered and reproduced for years to come. Hepburn’s performance in this film earnt her a fourth Academy Award nomination. More great films came after this, and included Paris when it Sizzles (1964), My Fair Lady (1964), How to Steal a Million (1966), and Bloodline (1979).

Hepburn was lucky enough to find love three times in her lifetime. Her first marriage to Mel Ferrer lasted fourteen years and the couple had a son, Sean in 1960. After her marriage to Ferrer ended, Hepburn met Italian doctor Andrea Dotti on a cruise off the coast of Greece. They fell in love and married on January 18^th 1969. They had a son together as well, Luca born early the following year. This marriage lasted thirteen years, with the couple divorcing in 1982, with rumours circulating that both parties were having affairs. At the time of her death, Hepburn was the companion of Robert Wolders, a man whom she met whilst still married to Dotti, and after their divorce was finalised, the new couple spent many happy years together.

Throughout Hepburn’s life, she had a strong impulse for the protection of children, which lead to her work at UNICEF. In 1987, she was officially appointed Goodwill Ambassador for UNICEF, and continued to help fundraise for the charity for the remainder of her life. She travelled to many places on her goodwill mission, including Japan, Turkey, Sudan, Bangladesh and Somalia. One of her most memorable trips during this time was to Somalia in 1992, after the country had been torn apart by war, with most of the population left starving. “I walked into a nightmare”, she was recorded as saying. Her work to help children around the world continues to this day. Her sons, Sean Ferrer and Luca Dotti, along with her companion Robert Wolders, established the Audrey Hepburn Memorial Fund at UNICEF to continue Hepburn’s humanitarian work in 1994. It is now known as the Audrey Hepburn Society.

Hepburn became ill in late 1992, experiencing abdominal pains. At the wishes of her family, she had further investigations done on a trip to California to visit her son Sean. Three days later, Hepburn was having surgery in the hope to treat colon cancer. She made it home for Christmas, spending the time with family at her home in Tolochenaz, Switzerland. When strong enough she would enjoy short walks in her beloved garden. On January 20^th 1993, Audrey Hepburn passed away peacefully in her sleep at home. Four days later, her funeral was held, with mourners including Hubert De Givenchy, Mel Ferrer, Andrea Dotti and executives from UNICEF. She was 63.

The legacy of Audrey Hepburn will remain forever. In the time she was here, she contributed so much to the world of film, fashion and humanitarian courses. She will be forever immortalized for her role in Breakfast at Tiffany’s, which remains as one of my all-time favourite movies. Her feminine style which she so strongly showcased, through the help of legendary designer Hubert De Givenchy, has been an inspiration to me in defining my own style and passion for fashion. I wish I had the pleasure of meeting this fine woman, but I shall continue to be motivated by the heritage she has left behind. Thank you Audrey, for all that you bought to the world, and for being such a wonderful muse to me.

Love Always, Anastacia Rose xx

The House of Dior: Seventy Years of Haute Couture

 

New Look 1947 Christian Dior

 

Last weekend I was privileged enough to see The House of Dior: Seventy Years of Haute Couture exhibition at the National Gallery of Victoria, Melbourne.  It was one of the most breathtaking and stunning exhibitions I have ever seen, and I’ve seen a few!  To be able to get up close to so many gorgeous works of art was something I will never forget.  Seventy Years of Haute Couture was on show from the seven different designers who have been in charge at Dior.  From the beginning in 1947 with Christian Dior himself, to current pieces by Maria Grazia Chiuri, this exhibition cemented my love for fashion and couture, and reinforced my passion dramatically.

It was amazing to see the changes in fashion over the seven decades from the seven different designers.  All of them though, paid homage to the master Dior himself, and kept true to the values and style that has become synonymous with The House of Dior.

I have complied a photo gallery of just some of my favourite pieces that were on show.  I took way to many photographs to publish them all, so here’s just a snipit of what you can expect to see if you too are privileged enough to see this most amazing show.

John Galliano for Dior

Raf Simons for Dior 2012

John Galliano for Dior

Marc Bohan for Dior

Gianfranco Ferre for Dior

Maria Grazia Chiuri for Dior 2017

Christian Dior for Dior

 

“For every year and every season there exists a single perfect proportion for women’s clothes – a proportion that will be out of fashion the following season.  Why?  Because under the mechanism of imitation that characterises the essence of fashion, these proportions will have become banal, so commonly adopted that they become boring.  Boredom topples fashions and inspires an endless need for renewal”.   – Christian Dior

” The well dressed woman will possess an outfit for every occasion; by the word ‘outfit’ I mean everything that goes to make up perfection, planned and thought through to the last detail, from the fur coat to the shoes”. – Christian Dior, 1951

 

Love Always, Anastacia Rose xx

“Dressmaking is the Architecture of Movement” – Pierre Balmain

Think post war fashion of the 1950’s and what comes to mind? Grand couture with an Avant Garde flair is what I think of. Nipped in waists, voluminous skirts, master tailoring and monumental lines. A time in fashion history that will always remain as one of the most influential and revisited decades. A time when women became bolder in their clothing choices thanks to the evolution that the end of World War Two bought. A time when couture houses were flourishing again, and a time when the Golden Age was ruled by Dior, Balenciaga and Balmain. Three masters of their trade. Three talents so grand and so different that they all found their place in couture and enjoyed the triumph that followed.

It’s quite obvious now that my passion revolves around this time in fashion history. They were times of grandeur, of opulence, of new found wealth and old money too. They were times when women showcased their feminine qualities and grace. And it was the era in which Pierre Balmain join the ranks of his peers to become one of the most successful couturiers of all time. Born in St Jean de Maurienne, a small alpine village in the Savoie region of France in 1914, Pierre Balmain was influenced by fabric and fashion from day one. His mother and sisters owned and operated a drapery store, and Balmain spent many weekends with his Uncle in the stylish spa town of Aix-les-Bains, where society ladies gallivanted around in couture fashions. Balmain’s family tried to influence him to not enter the rag trade, but instead architecture, as this profession was viewed as more sustainable at the time. He enrolled at the École des Beaux-Arts in 1933 to study architecture, and was relatively good at it. Balmain’s passion for couture was still ripe however, and so he wrote to the leading designers of the time including Robert Piguet and Edward Molyneux, asking for the opportunity to show his sketches in the hope to attain some work. Balmain succeeded in impressing Piguet, who offered him a trail in his Atelier. He never completed his studies. Balmain continued to work as a freelance designer and improve his skills for Piguet for approximately one year, after which he gained recognition form Robert Molyneux and moved on to work in his studio. For five years Balmain continued to polish his abilities in couture alongside Molyneux until 1939, with the ever increasing threat of World War Two on the doorstep of France.

Balmain’s sketches were once again hot property, and during the period of the Second World War, one couture house that was still functioning was that of Lucien Lelong. Balmain was poached yet again from one designer to the next, and he continued to sketch for the House of Lelong during the war period, alongside another young designer know as Christian Dior. By the time the war was over, Balmain was a master of his craft, and decided to go out on his own, opening the House of Balmain on 12^th October 1945, in Paris. His initial apparel pieces showcased bell-shape skirts and tiny waists, a look now synonymous with his peer Dior. Vogue declared some of Balmain’s creations “eventful skirts”, showcasing heavy embellishments and embroidery such as leaves, cherries and scrolls. These full bodied silhouettes were part of the post war luxury women craved, and they were always meticulously constructed. A good friend of Balmain’s, Gertrude Stein, who was at the time writing for Vogue, played a large role in Balmain’s success, through her articles published in the magazine. Early celebrity and aristocratic followers include the Duchess of Windsor.

Balmain’s signature style became known as “Jolie Madame”, and it offered a startling contrast to the previous utilitarian look of the times. The style was overtly feminine, with Balmain creating a portrait of his ideal woman. Elegant, strong and modern were adjectives used at the time to describe this look that previewed bouffant skirts, cinched waist lines and rounded statement shoulders. The style became increasingly popular as women were egger to free themselves from the vestiges of wartime hardship. Balmain’s style offered this with the brand soon becoming popular within the hierarchy of royalty and Hollywood. Some of the dames who wore the label were, Audrey Hepburn, Ava Gardner, Marlene Dietrich, Josephine Baker, Bridgette Bardot and Sophia Loren. Balmain also released a Eau d’Parfum at the same time known as Jolie Madame, and with the couturiers trademark complete, he competed alongside his friends Dior and Balenciaga.

During his reign, Balmain also dabbled in costume design, and was nominated for a Tony Award for his work on the 1980 film Happy New Year. In total he collaborated on sixteen feature films, and he also produced stage costumes as well. Balmain can also be credited with nurturing the talents of future fashion designs, and in 1954, he hired a young Karl Largerfeld after recognising the Austrian’s talents in a competition he was judging. Nowadays, the Balmain brand encompasses much more than couture. It has lent its name to menswear, childrens-wear, footwear, cosmetics, and now even eyewear. A far cry from what Pierre Balmain must have imagined his label would ever become. The grand master died in June 1982, in Paris, after a battle with liver cancer. He had just completed his sketched for his upcoming fall collection.

It was been said many times over the years that couture fashion would not have been revitalized after the second World War, had it not been for the immense talent for Pierre Balmain and his peers, Dior, Balenciaga and Jaques Fath. I don’t think that I will ever find another decade in fashion that I will fall in love with as much as I have the Golden Age.

Love Always, Anastacia Rose xx

“Elegance is Elimination” – Balenciaga

One of the things I love most about fashion is that if it’s done right, it can look like a piece of art. I love anything that is sculptured, has volume, flair and a fabulous colourful print. And that’s possibly why I fell in love with fashion from the 1950’s. Yards and yards of fabric was used to create some of the most stylish and Avant Garde pieces imaginable. But before it became popular in the 1950’s through the likes of Dior, Balmain and Givenchy, there was a man known as “The Master” who lead the way and showed the world what haute couture really was. Cristobal Balenciaga encompassed all of these things, and was a master tailor who set the scene for standards and styles from the 1930’s onwards.

When we talk about The Golden Age of Couture, from 1947 to1957, there were two designers who cornered the market. I’ve previously discussed the works of Christian Dior, and how influential he was during this decade. The other man alongside him was Balenciaga. These two men have very different stories of how they ended up in the world of couture, with Balenciaga’s reading like the stuff of legends. He was born in Spain in 1895 and grew up on the Basque Coast. His mother was a seamstress and his father a fisherman. From a very young age he showed a keen interest and talent for sewing, and with the guidance and support from his mother, Balenciaga was destined to join the Gods of fashions. At age 11, he made a copy of a suit that one of his mother’s clients wore. So impressed was the Marquesa de Casa Torres, a member of the Spanish aristocracy, she became his benefactor and encouraged him to take an apprenticeship as a tailor at only 13 years old. From here, Balenciaga learnt to master his craft at cutting.

Balenciaga worked his way slowly up the professional ladder. From 1911 to 1917, he worked as a fitter and tailor in the atelier of the Grands Magasins du Lourve in San Sebastian. His work was meticulous and was sought out by many other aristocrats of the time. From all of his training, Balenciaga then had the necessary skills to open his own fashion house, and did so in San Sebastian and shortly after in Madrid. The Spanish Civil War which began in1936, posed a threat on the world of couture, and as a result, Balenciaga had to close the doors to his atelier. He fled Spain for France, and settled in Paris and began to rebuild his empire.

From 1939 onwards, Balenciaga became a true innovator and couturier. The master tailor chose to stray away from traditional female silhouettes, and gave women more freedom in their clothes. He did this mainly through his cutting techniques. He decided to release the body form the bust and waistlines, and altered the silhouette by broadening the shoulders and cutting a loser, less structured bodice and torso. The sleeve too was on of Balenciaga’s masterpieces. He developed the yoke sleeve, and also became obsessed with the setting-in of sleeves on many of his jackets. The way in which Balenciaga constructed his garments was also innovative of the time. He rejected the use of padding and stiffeners, preferring to use the natural form of the fabric, and adding interfacing where necessary to allow the fabric to keep its shape when the wearer moved.

By the mid 1940’s Balenciaga was a well-established brand know all over Europe. His clientele read with the names of Marlene Dietrich and Greta Garbo, and soon many America aristocratic woman came calling. He was a pioneer of his time, and women loved him and his clothes for the new found freedom it gave them in an ever changing modern world. In 1951, Balenciaga release his semi-fitted styles for women’s suits. These styles were called the “H” and “I” lines and consisted of a long, semi fitted jacket, worn over a pencil skirt that fell to just below the knee. Many of his jackets and blouses had no collar. In 1953, he released the balloon skirt, a sculpted garment with volumes of fabric. In 1955 it was followed by the tunic dress, and then the sack dress appeared in 1957. The following year saw the birth of the baby doll dress, which eliminated women’s waistlines altogether. He also released the peacock tail dress the same year, which consisted of the hemline being longer in the back than in the front. Many of Balenciaga’s designs paid homage to his home country. In one collection he released, he showed bolero jackets heavily embroider with the colours and patterns of Spain. Balenciaga used shades of deep black, accented with brilliant whites, reds, turquoise and yellow. His choices in fabrics were brilliant too. Favouring tweed as a sturdy woollen fabric, he was able to create the silhouettes he was after. Most of these fabrics were sought from the top manufacturers in France and Scotland.

In 1968, the master tailor was contracted to design uniforms for the stewardesses of Air France. Being the perfectionist that he was, Balenciaga insisted on doing all 3000 fittings personally! Not long after this assignment, Balenciaga presented his last couture show and announced his retirement, after 35 years in the trade. His clientele were shocked to hear the news, and when they asked him who would look after their interests now, he directed them across the road to the House of Givenchy. The Balenciaga brand only remained active on the Japanese market after the master tailor’s departure, until 1987, when Michel Goma turned the firm around and launched a line of prêt-à-porter. The empire that Balenciaga once had been had lost its spark however, and the new lines were not received well. It took a number of years for the brand to gain popularity again, and in 1997 was taken over by French designer Nicolas Ghesquière, who, at only 24 years of age, was asked to bring back the brand’s distinctive sculptural volumes and Avant Garde air. The French designer worked hard and returned the brand to its former glory, before stepping aside in 2012 to make way for Alexander Wang.

This Golden Age of Couture that I have so deeply fallen in love with, would certainly not have been as grand had Balenciaga not been a part of it. His designs were innovative, striking and true works of art. Many of them have stood the test of time thanks to the tailor’s strong attention to detail and endeavor for exactness. His peers once said, “Balenciaga was like his clothes, perfection!” He was truly inspirational.

Love Always, Anastacia Rose xx

With Love, to Marilyn xx

So far on my blog I have written about a few of the great Designers who serve as inspiration to me, and who I have a love for. But there are people in the world of fashion who aren’t couturiers who inspire me just as much, if not more, in my own designs but in life as well. I’ve briefly touched on my love for Audrey Hepburn, and I will absolutely dedicate an entire blog to her very soon. But today I feel the urge to write about another lady who not only I, but the world is still in love with. She was a Hollywood starlet who made great films, but lived a very troubled and lonely life, and was tragically taken from the world too soon. But in the 36 years we had her for, she dominated our lives and ensured her legacy would live on. Marilyn Monroe; a beauty, a muse and a style icon.

Many know the story of Marilyn Monroe. A young girl with ambition who became a sex symbol of the 1950’s and into the 60’s through her work in film and modelling. But who was she really? A natural beauty with a troubled soul. A woman who strived to be loved my men to fill a void she felt deep within. A talented actress who wanted to be more than a blonde bombshell but sadly never got the chance. She came from nothing and ended up with everything, but it was not enough. I’ve watched many of Marilyn’s films, as well as documentaries about her life, and read countless books. This blog is a tribute to Monroe and showcases my own thoughts and opinions on her from everything I have read and watched. She is a woman who inspires and fascinates me. I hope you enjoy!

Norma Jean Baker was born on 1^st June 1926 in the charity ward of Los Angeles County General Hospital. Her mother, Gladys Monroe Baker was from the working class and was poorly paid as a film cutter in Hollywood. Her father never recognised her. Norma Jean was placed into foster care by her mother at only 3 months old, as she felt incapable of looking after her. Seven years later, in 1933, Gladys bought Norma Jean to live with her in Hollywood. It didn’t last as Gladys was declared paranoid schizophrenic, and Norma Jean was placed into care once again. Until the age of sixteen when Norma Jean married, she lived in eleven different foster homes and orphanages. This certainly wasn’t the start to life that any child should have, and it is probably the reason why as a woman, Marilyn used to make up stories of her childhood to disguise the truth. At only sixteen, Norma Jean married the boy next door, James Dougherty in 1942. Their marriage was not one based on love, but more of a convenience so that Norma Jean would now be looked after by her husband and no longer a ward of the state. It didn’t last however, and only 4 years later the couple divorced.

During the Second World War, Norma Jean was working in a factory that made products for the military. It was here that she was discovered by a photographer, and soon became a model, taking risqué pin-up photos that were hugely popular with soldiers in Korea. From this modelling work, Norma Jean soon fell into acting, and wanted to make it big. Her overt sexuality was extremely popular with film producers of the time, and she started being cast as a ‘dumb blonde’ in Hollywood in the late 1940’s. Norma Jean was made to change her name to something more appealing, and Marilyn Monroe was born. Although she was known publicly as Marilyn from 1946, her name was not legally changed until 1956.

Her first few roles in film were not much to boast about. Monroe was cast with minimal speaking lines, and was there in the background with the direction to look sexy. Its wasn’t until the early 1950’s that Monroe started to get more notable film roles, and her small part in The Asphalt Jungle (1950) gained a lot of attention. The same year she impressed with her role in All About Eve alongside Bette Davis, and before long, Hollywood couldn’t get enough of the blonde bombshell. Even with her growing success, Monroe remained insecure about her acting abilities. She hired an acting coach, Natasha Lytess, who became infatuated with Monroe and remained by her side for many years. It’s reported that Monroe and Lytess were extremely close, living and working together most days. Lytess was very controlling over Monroe, and in hindsight seemed to offer more bad than good. Monroe suffered with severe anxiety and was often physically ill before a performance. This is reported largely as being the reason why she was so tardy on set, and why so many of her co-workers and crew became fed up with her. Over the years, Monroe was signed and released by contract with many production companies including MGM, Fox and United Artists. After being cast as the sexy starlet in most of her films, including Niagara (1953), Gentlemen Prefer Blondes alongside Jane Russell (1953), How to Marry a Millionaire with Betty Grable and Lauren Bacall (1954), and who could forget The Seven Year Itch (1955), Monroe wanted to show more of her serious side. In 1953, she went to New York to join an acting studio to improve her talent and increase her ability to attain more fulfilling roles. Then in 1956, Monroe returned to the screen in the dramatic comedy Bus Stop, and received mostly praise for her performance.

With her hourglass figure, breathy voice, sexy strut and bleached blonde hair, Monroe was an instantly recognisable star the world over. In 1957, Monroe scored a role alongside Laurence Olivier in The Prince and The Showgirl. The film was a box office hit in Britain, but not as popular in America. Monroe’s personal life was in turmoil during the shooting of this film, and she often didn’t show up for work. The 2011 film My Week with Marilyn was based on this troubled time in the starlet’s career. Further roles in which Monroe stared were Some Like It Hot (1959), Let’s Make Love (1960) and The Misfits (1961). The last film in which Monroe was working on was Something’s Got To Give (1962). The film was never complete due to Monroe’s death. It was rewritten, recast and reproduced in 1963 as Move Over Darling, staring Doris Day and James Garner. In total, Monroe completed and released twenty nine motion pictures from 1948 through to 1962.

Monroe was married three times during her short life, and was reportedly engaged to marry again at the time of her death. Her first marriage, to James Dougherty as previously mentioned, was somewhat immature and loveless. Her second wedding was much more of a fairy-tale. In 1952, Monroe met baseball star Joe DiMaggio, and the pair instantly struck affection for one another. They soon became the ‘it’ couple of Hollywood, with the press following their every move. On January 14^th, 1954, the couple wed at San Francisco City Hall and were mobbed by both fans and reporters. While on their honeymoon in Japan, Monroe was asked to perform for the troops in Korea to lift their spirits. Being an ingénue, she naturally accepted, cutting their honeymoon short and leaving a brooding DiMaggio on his own. After only 274 days of marriage, the couple divorced in October 1954. Monroe claimed that she never stopped sleeping with DiMaggio. Two years later, Monroe wed again, this time to playwright Arthur Miller. The couple were married for five years, being the longest and most successful partnership of Monroe’s life. Whilst married to Miller, the couple tried to have children. Their dream was never made a reality, with Monroe having several mischarges during this time. It had a grave effect on her mental state, and shortly after her divorce from Miller in January 1961, Monroe was admitted to a psychiatric hospital. It was DiMaggio who secured her release from the facility, and did his best to look after the damaged star.

During Monroe’s career in Hollywood, she wore some of the most stunning costumes. Most of her attire left nothing to the imagination, being tightly fitted with plunging necklines. There was one man who is famed with dressing Monroe during this time. William Travilla was a costume designer from America, who dressed Monroe in some of her most iconic outfits. He received two Academy Award nominations for his work on How to Marry a Millionaire (1953) and Bus Stop (1956). The two had a very strong admiration for each other, however Travilla chose to remain in the background and make Monroe the star. One of his most recognisable works is the Red Dress from Gentlemen Prefer Blondes, showing a plunging neckline, thigh high split and sequins to die for. The dress sparkled as though covered in rubies, with Jane Russell wearing a matching one in the opening credits of the film. Monroe oozed sex appeal while wearing this dress, which was made from a heavy crepe, lined in silk, and had thousands of sequins hand sewn onto it. The outfit was completed with a diamond broach on the hip, with more diamonds dripping from Monroe’s wrists, neck and ears. Another memorable costume was the Gold Dress, also from Gentlemen Prefer Blondes. This outfit only appeared briefly in the film, but left an unremarkable stamp on the world of fashion. It was made from gold lame and sunburst pleats, and was so figure hugging that Monroe had to be sewn into it. When Monroe later wore the dress to an awards ceremony, she chose not to wear anything underneath, a very risqué move but one that attracted huge amounts of publicity. Then there’s the White Dress from The Seven Year Itch, possibly the most recognisable gown that Monroe ever wore. This dress has captured the hearts of movie buffs and fashionistas alike for years. Again Travilla used pleats to create this masterpiece, with a halter neck and small bow on the left side of the waist. It was made from ivory coloured rayon-acetate crepe, which gave the garment enough body to flow, but also allowed it to be light enough to billow up in the famous subway scene. The most notable dress in cinema history, was sold in 2011 for $4.6 million! Travilla also crafted many more Monroe outfits, including the showgirl costumes in River of no Return, and he also made the fur trimmed suit Monroe wore on the day she wed DiMaggio. There’s no doubt that Monroe would not have become the star she did, had it not been for the talent, style and love of William Travilla.

 

It seemed too many onlookers that Monroe was in the prime of her life, with her career flourishing and the star receiving more notable film roles. But privately, Monroe’s world had been falling apart for years. With the collapse of three marriages, not being able to bear children, and no family to offer her support, Monroe sought comfort from drugs and alcohol. On the day of her death, Monroe was reportedly anxious and became erratic as the afternoon went on as she had not slept the night before. She had known issues with insomnia, and her doctors had prescribed many different sleeping pills for her over the years, including Nembutal. There are many different versions of how Monroe died, whether it was suicide or murder, and who was involved. The only people who really know the truth have never been forthcoming with it, including Monroe’s housekeeper, Eunice Murray, who was there on the night she died, and her psychologist Ralph Greenson. Rumours circulate too about the involvement of the Kennedy brothers, Bobby and John, and that they may have tried to cover up their affairs with Monroe. Whatever the true story is, it’s certainly a tragic one. Monroe was discovered in her bed in the early hours of Sunday 5^th August 1962, lifeless and naked. There were empty prescription pill bottles littering her bedside table. Why the police were not called straight away has remained a mystery for all these years, harbouring the notion of a cover up. When an autopsy was finally complete on the star, the official ruling was probable suicide, caused by a fatal amount of sedatives found in her system.

The death of Monroe shocked the world, and made front page news of all the papers in America and most of Europe too. Her funeral was planned by Joe DiMaggio, and he chose to avoid the big Hollywood circus. She was buried in a crypt in Westwood Village Memorial Cemetery, not far from Monroe’s home in Brentwood, Los Angeles. Only thirty one people were invited to Monroe’s funeral, with Hollywood and the Kennedy’s banned from coming anywhere near it. DiMaggio was angry for the way they had treated Monroe, and did his best to protect her from them even in death. Floral tributes were as far and wide as the eye could see, and Judy Garland’s “Over the Rainbow” was played during the ceremony. It’s reported that after the ceremony conclude, and the guest dispersed, that security could no longer hold back the crowd of thousands. They stormed the cemetery tearing apart the floral arrangements so they could have some sort of souvenir. In death, as in life, Marilyn was an object of fan devotion and they would stop at nothing to get a piece of her.

I’m not entirely sure why I have such an admiration and fascination for Marilyn Monroe, or when it even began. But I too, like so many of her fans, can’t get enough of her. I do wish that she had lived for many more years, and had continued to inspire the world. I will always remember Monroe for her looks, her sass and her unmistakable style. Elton John said “It seems to me you lived your life like a candle in the wind, never knowing who to cling to when the rain set in. And I would have liked to have known you, but I was just a kid, your candle burned out long before, your legend ever did”. And I think these words ring true for many of us. Rest in Peace Marilyn.

Love Always, Anastacia Rose xx