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Posts Tagged ‘fashionable quotes’

770_480nMum’s sewing shop – which also doubled as the back room of our flat where she and my dad slept – was where all the mothers and sisters would come. They’d bring a magazine image, and she’d work with them to cut something that actually suited them. I loved the way she could pick up a piece of fabric with confidence and cut without a pattern; to this day, I drape on friends. I then have to work backward to adapt to the standard sample-size measurements for production, but it allows me to see what it’s going to look like on the end customer.

Osman Yousefzada – British fashion designer. (This quote is from an interview with Elle magazine, June 2017.)

 

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Osman Yousefzada Resort 2017. Lots of new things going on with sleeves this season and of course the bare shoulder is everywhere. I like the one sided approach,

After graduating with a fashion design degree from Central St Martins, Osman Yousefzada debuted his women’s line during London’s 2008 Fashion Week. He quickly became a favorite for his sculptural silhouettes and went on to win several prestigious fashion awards including the BFC Newgen sponsored by Topshop.

I love this story that Mr. Yousefzada shares. What a nice image and memory. Bringing magazine cuttings to local seamstresses was and perhaps still is a popular thing to do. I know my mother did it decades ago, I do it, and I have a friend who has clothing made that way as well.

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lbb-main_2245033aI am deeply saddened by the administration’s choice to withdraw from the Paris Climate Agreement. I recently had the pleasure of attending the Copenhagen Fashion Summit and was energized by the conversations and commitments made by many brands — big and small — to truly incorporate sustainability practices into their business models. Now is the time for our industry to use its creativity toward solving the global environmental crisis. This isn’t just the fashion industry’s issue — it is everyone’s issue.

Eileen Fisher, American fashion designer.

hear! hear!

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Fashion sketches by Virginia Johnson published in Descant.

I paint all of my designs by hand. I use watercolor on paper. This is my most cherished part of the creative process. I welcome accidents in my sketches. In the manufacturing process, I try as much as possible to maintain a hand-crafted feel. I welcome print flaws in the fabric because this allows the presence of the human hand to show through.

Virginia Johnson – artist and designer.

This quote is from an essay Ms. Johnson wrote for the fashion issue of Descant, volume 38, number 3, fall 2007.

I agree with Ms. Johnson’s idea of slight imperfections in anything handmade. I’m reminded of something Sarah Ferguson, Duchess of York (is she still a duchess?) said when she was asked if she was nervous about modeling for an upcoming fashion show: “No,” she responded with a grin. “I think perfection is overrated.”

A perfectionist myself, that really struck me and I’ve remembered it ever since. It can be very liberating when working on any creative project to let go and see where the craft leads. (I admit my quest for perfection still plagues me when it comes to some of my writing projects.)

If we worry less about the outcome and just enjoy the process, that’s where we find art.

 

 

 

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Rei Kawakubo for Comme des Garcons spring/summer 1997

What’s so inspiring about Rei is that for her the body has no bounds, and fashion itself has no limits. That to me is what her legacy is — the body and the dress body in fashion is limitless … When you think about what’s been achieved in the last 40 years and the types of things we take for granted now — the unfinished, asymmetry, black as a fashionable color were pioneered by Rei. But beyond the formal aspects of that, she has always rebuffed the status quo … I feel if Rei didn’t exist we would have to invent her to explain the last 40 years because her impact in fashion is that big.

– Andrew Bolton, curator of the current Metropolitan Museum of Art in NYC exhibit, Rei Kawakubo/Comme des Garçons: Art of the In-Between. 
This quote is from an interview with Mr. Bolton for Women’s Wear Daily.
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Paired with ballerina flats. Look at the tight shoulders. Kind of like she’s wrapped up.

I was just reading about Rei Kawakubo in a book about avant-garde fashion (Fashion Game Changers: Reinventing the 20th Century Silhouette, Bloomsbury). She says there is no meaning to her designs and yet people seem compelled to find something behind (between?) the unexpected bumps, pads, layers and outrageous silhouettes.

I find her fascinatingly inaccessible. I don’t know what to make of her designs except that they are:

1. Completely noncommercial.

2. They look like they’re challenging to wear.

3. They remind me of Leigh Bowery, the British club kid of the 1980s who also came up with some wild unflattering silhouettes.
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Leigh Bowery original design, 1980s.

There is one very big difference between the two – Mr. Bowery played in a dark and freaky arena, by making everything larger than life. Not to mention his makeup and masks. Ms. Kawakubo stays within the non-freak zone by using (sometimes) feminine prints and colors and showing her clothing on lovely mainstream models. She certainly bumps up against freak (pun intended!) but with a light, quiet hand.

I would say that perhaps Ms. Kawakubo uses the body as a canvas, so to speak, for her sculptures. And in doing so she has, as Mr. Bolton points out, impacted fashion.
Fashion model Anna Cleveland, an attendee of the recent Met Gala calls Ms. Kawakubo’s designs, “Walking art.”
Click here for more information on Rei Kawakubo/Comme des Garçons: Art of the In-Between on now at the New York Metropolitan Museum of Art.

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I could go to 10 Avenue George V wearing the most uneventful outfit and emerge with the certainty that to the knowing, or even to the ignorant, eye I was well dressed. A Balenciaga could be outlandishly showy or, like mine, almost plain. What they all had, uniquely, was poise – a savant equilibrium that was quiet even at its most extravagant – and this poise was passed onto the wearer. It was my blue light wool Balenciaga suit that enabled me to take out a notepad and quiz Eleanor Roosevelt at the Hotel de Crillon as if I were (almost) entitled to. 

– Mary Blume, columnist and author of: The Master of Us All Balenciaga: His Workrooms, His World (FS&G, 2013)

16864778_1621459711199312_3192038558631594158_nMs. Blume was a lucky young woman when in the early 1960s, after having arrived in Paris to work as a journalist, she was introduced to Florette, Christobal Balenciaga’s top vendeuse.* Florette took to Ms. Blume and often invited her into the storied fashion house to peruse the designs and buy a few older pieces at a sizeable discount.

The luck continued and more recently Ms. Blume was able to interview 90-something Florette before she died in 2006. The devoted vendeuse still had a sharp memory, providing for Ms. Blume a detailed look at the inner workings of the Balenciaga fashion house, from the time she was hired in 1936 to the day it closed in 1968. The result is the biography (and fashion history) – The Master of Us All Balenciaga: His Workrooms, His World.

A great book! I particularly enjoyed the bits about how fashion houses operated in those days – far less commercial – and I appreciated Ms. Blume’s detailed inclusion of the historical context in which Balenciaga was working. Lot’s of stories on other designers of the era (Dior) as well as society ladies, models, and … the vendeuses.

*A vendeuse worked in designer fashion houses with clients helping them choose pieces from each new collection. She collaborated with the seamstresses in fittings and saw to appointments and the overall satisfaction of her clients. She was part saleswoman, part stylist and a very important member of the staff. A good vendeuse was invaluable to any designer.

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amelia-earhartWhen I’m flying in my little plane, I usually wear a sports costume with a rather full skirt and a close-fitting hat. Sometimes I slip a leather windbreaker on under my coat, for the temperature drops as one ascends.  … Usually on a solo flight, I wear low-heeled shoes, because with low heels it is easier to keep my feet braced on the rubber bar … On the Friendship flight … the trip was pioneering one, and comforts were not thought of. For instance, there was no step from the pontoons to the door, and I couldn’t have jumped into the plane in a skirt. Further … we had dumped everything to sit on, to save weight. Squatting on a rolled flying suit, or kneeling on one knee, or sliding between the large gas tanks wouldn’t have left much of ladylike ensemble.

Amelia Earhart (1897-disappeared 1937), pilot and first women to fly solo across the Atlantic. This quote is from an essay Ms. Earhart wrote for Harper’s Bazaar in 1929.

Ha! And we think we have it hard flying these days.

Ms. Earhart created her own style for flying, which often included trousers, button down shirt topped with a leather jacket and a scarf. Looking at photos it seemed she felt more comfortable in sporty attire than the more traditional feminine frocks of her era.

Speaking of flying and attire, as I get ready for traveling this week I’m pondering what to wear in flight. It is tough in these days of overcrowded airplanes balancing comfort with looking presentable. Anything tailored is too restricting, skirts are impractical for sitting, and who wants to risk our really nice pieces of clothing to the grit and grim of airline seats?

I usually go simple in corduroy pants and a long-sleeved cotton t-shirt. I add a scarf and my trusty beret for a little chic factor – accessories can upgrade any outfit. Outerwear might be my tweed coat or this time of year I think I’ll go with a puffer vest. Oxfords rather than sneakers also keep the look sharp. (Although, sneakers are looking pretty darn fashionable lately.)

How about you, my fashionable readers? How you do manage to look nice and stay comfortable while flying? Vintage-loving readers, how do you keep vintage while traveling?

Please share your thoughts by leaving a comment.

 

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IMG_20170406_181138357Linda Gravenites turns them out slowly and turns them out well and only turns them out for those she likes.

Janis Joplin (1943-1970)

Janis is speaking to Vogue magazine in 1968 about her friend Linda Gravenites, who at one time was her roommate and her stage costume designer.

The pictured beaded bag was made for Janis by her friend, Linda – glass beads and silk embroidered on goat skin. Wow!

This bag is on display at The Summer of Love Experience: Art, Fashion, and Rock & Roll, an exhibition at the de Young Museum celebrating the 50th anniversary of the magical summer in 1967, that could happen only in San Francisco.

I was attracted to Janis’ bag because of course it’s beautiful but also it’s an excellent example of the hippie fashion aesthetic. Young people of the 1960s mixed it all up: handcrafting, re-purposing combined with influences such as the Wild West and vintage. Victorian and Edwardian clothing in particular were favorites as both men and women picked up for a song blouses, skirts, suits, and hats at local thrift stores and flea markets.

This hand-beaded bag is reminiscent of the Edwardian period when women sported a demure reticule, handy for only a handkerchief. Janis’ bag is larger and must have taken quite some time (and eye strain) to make. No wonder Linda had to really like someone to turn out one of these.

Stay tuned – there’s more to come about The Summer of Love Experience: Art, Fashion, and Rock & Roll on OverDressedforLife.

 

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