Fashion Industry Yesterday Magazine 2014

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Y esterday

THE AMERICAN DUCHESS the reign continues

renaissance 2014 Theatre de la Mode paris 1945



Discover the Secret


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Yesterday MEREDITH CORNING Editor in Chief Creative Director MEREDITH CORNING Style Editor CYNTHIA J ALCOTT Fashion Editor HANNAH WEBBER Contributing Editor MARCELA CALVET Copy Editor CYNTHIA J ALCOTT Copy Editor MONICA WIRZFELD ACKNOWLEDGEMENTS Keshida Layone/ Condé Nast Ali Galgono/Charm & Chain Veronica Cizmar Tim Fuller Emmanuelle Choussey Miriam Haskell New York ANTHROpologie Bobby Haws

Fashion Industry Today is an annual publication of Meredith Corning Enterprises LLC/Compassion Fashion™ 208 W. Mississippi St. Beebe, AR 72012 ©Meredith Corning Enterprises LLC/Compassion Fashion All rights reserved. Reproduction in whole or in part is strictly prohibited without prior written consent.




something royal

The Life and Times of an American Duchess


The Cycle Begins Anew

Retro Effects



Stoned Immaculate

Renaissance 2014



Théâtre de la Mode


Modern Pin-Up Artistry

Nod to Mod



A Portait of Calvet


40 something stoned

LETTER FROM THE EDITOR in their work today.

Editor, Meredith Corning's Great Grandmother sits on left in image above.

Welcome to the premiere issue of Fashion Industry Yesterday! I began this project knowing that I wanted to show the importance of paying homage to those who came before us without sounding like a textbook. I have searched high and low (it was not that hard, actually) to find modern people utilizing references from the past

When I think about why historical costume and design intrigue me so much, I suppose it may be my own heritage. My Great Grandmother, Rebecca McLeod (featured in image left), was a master designer and seamstress, but only for herself and family members. I have heard stories about her infamous 18" waist (now why couldn't I have inherited that), her masterful sewing skills and her modern style during her time. Although from the south, she frequently made trips to New York City to visit relatives and picked up all that was modern and stylish bringing back what she saw and creating her own designs. I also know that she made gorgeous hats that during that era was the epitome of class and sophistication. I learned recently that another side of my lineage owned a prominent needle factory in England and another owned a business that sold hand sewn boat sails. I suppose it really is in my blood to be inquisitive of this industry and all facets that make it what it is today.

Furthermore, it was extremely hip when I was growing up in the late 90's to shop at vintage stores -see photo right after a vintage shopping spree leaving Seattle, Washington circa 1998. In this photo I had just purchased a vintage faux fur coat and that crazy raspberry beret that I later wore to a Prince concert...true story! Vintage wears have certainly made a comeback once again, but you're not the first, twentysomething's. There is much to learn about life and design via looking back at history and my hope is that you will discover something new in this issue from some fabulous people who just "get it." Whether your first love is the Renaissance era or the 1950's, there is a little something for everyone. If you do not know who Edith Head is and you call yourself a "fashionista," I am embarassed for you and read pages 8-13. Or maybe you love pin-up art (I mean, really, who doesn't), check out our featured pin-up layout

Editor, Meredith Corning, at the Sea - Tac airport after a vintage shopping spree in Fremont, Washington circa 1998.

on pages 56-64. If vintage clothing is what you seek, oh my goddess, seek no more and discover Veronica Cizmar's shop - Some Like it Vintage - on pages 24-34. Looking for some insight into the industry and life in general? Don't miss my "partial editorial" and interview on my friend and vintage magazine collector on pages 66-73. Happy reading, lovers.


usan Claassen commands the stage with her staggering performance as Edith Head in her savvy one woman show, "A Conversation with Edith Head." After watching a documentary about the legendary Hollywood costume designer, Claassen was struck by her uncanny and somewhat haunting physical resemblance to Edith Head. She exhaustively began to research the designer's life and discovered Paddy Calistro's




ICONIC book Edith Head's Hollywood and eventually collaborated with Calistro on the play. The luckiest part of this was Calistro owned thirteen hours of taped interviews with Head, ensuring that Claassen's performance would be strikingly

Besides practically being her double in appearance, you seem to have really captured Edith Head’s essence in your onewoman play, "A Conversation with Edith Head." How were you able to connect with and perfect her personality so eloquently and what inspired you to write this play? HOLLYWOOD'S ELITE FROM LEFT: SUSAN CLAASsEN WITH FUNNY GIRL, JOAN RIVERS; SUSAN CLAASSEN WITH HITCHCOCK'S "THE BIRDS" ACTRESS, TIPPI HEDREN

similar to Head's voice, persona and mannerisms. Claassen's tireless research on the designer has enabled her to bring Head to life and allow old aquaintances to reminisce days gone by whilst providing the public an insider view into the world of Edith Head. Who better to fill us in on this prominent fashion figure than Susan Claassen? 10

xox Betsey Johnson World renowned fashion designer, Betsey Johnson, met Susan Claassen as Edith Head at Tucson Fashion Week last year and wrote on her blog with accompanying photo of the two, "“…beautiful event, great show, lots of talent, and the best emcee around …the fabulous Edith Head. Check out my new friend Susan Claassen’s uncanny resemblance to Hollywood’s most legendary costume designer."

I first got the idea in 2001 when I was watching a television biography of Edith Head. I literally did a double take when I watched; my physical resemblance to Edith Head seemed uncanny! And what's even more bizarre, we are the same height and both born in October fifty years apart. The more I watched, the more I knew there was a great story to be told. Edith’s estate was managed by The Motion Picture & Television Fund. I read anything I could find when I came upon Paddy Calistro’s book Edith Head’s Hollywood. I decided to attempt to locate its author. I then called telephone information, where I thought Paddy lived, and "voila," she was listed. I placed the phone call and it was kismet. At our first meeting in Los Angeles, we knew the connection was right and we agreed to collaborate. Paddy had not only written the book but had inherited 13 hours of taped interviews with Edith Head - it was truly a gift from heaven. We can honestly say that A CONVERSATION WITH EDITH HEAD is based upon the words and thoughts of Edith Head - the “Edith-isms.” Our research led us to The Academy of Motion Picture Arts and Sciences’ Margaret Herrick Library in Beverly Hills where Edith Head

SHE SAW THE WORLD THROUGH BLUE -COLORED GLASSES Edith Head's famouse "sunglasses" were not sunglasses at all, but rather blue tinted glasses which allowed her to preview what any costume would look like on black and white film.

left most of her papers, sketches, photos and eight Acad- emy Awards® . Through Paddy’s connections, meetings were also set with Bob Mackie, who was once a sketch artist for Edith Head; Edie Wasserman, wife of the late Lew Wasserman, famed agent and head of Universal Studios; and Art Linkletter, host of the long -running TV magazine show "House Party" (on which she regularly appeared). These extremely generous people provided first-hand insights into a world I had only read about. It is such a privilege to keep this amazing woman’s legacy alive. From Tbilisi to Edinburgh 2007 (where we were so fortunate to be one of only 200 official “Sell-Out Shows") to Chicago - audiences have been touched by Edith's story. What they take with them after having seen the performance is truly dependent on what they bring to it. Film buffs get immersed in hearing stories




from someone who has lived through the evolution of contemporary film. Older audiences remember always seeing the closing credits, "Gowns by Edith Head;" and it evokes a bygone PHOTO BY TIM FULLER era. The younger audiences think of the Pixar anima- ted film "The Incredibles" and Edna Mode, designer Edith created a “brand” before to the super heroes. The universal anyone. Underneath, however, she response is summed up by a note I was vulnerable. We set the play in received from a fan. "My friend saw 1981 during the making of her last the show on Sat- urday and adored film - Carl Reiner’s “Dead Men Don’t it. He said the same as me i.e 'if Wear Plaid,” starring Steve Martin. someone men- tions Edith Head to She died two weeks after the wrap me now, my first reaction will be to of the film and the film is dedicated say, ‘Oh yes, I met her once and it to her. Throughout the play we see was unforgettable!'" glimpses of a woman who has outlived all her contemporaries and What do you think people would is wrestling with a lifetime of be surprised to learn about memories and regrets. Edith Head? We all know that Edith Head


was a brilliant costume designer for so many iconic Hollywood movies such as “The Birds” and “Roman Holiday.” In your opinion, what about Edith’s style and design skills gave her such a respected reputation in Hollywood? Edith was an executive woman before there was such a thing! It was a boy’s club when she started - 1923. Women in the Unites Stated had just recently got to vote, if you can imagine. It has been said that Edith had the instincts of a pastry chef and the authority of a factory foreman. She herself said, “I knew I was not a creative design genius,,,I am a better diplomat than I am a designer...I was never going to be the world’s greatest costume designer, but there was no reason I could not be the smartest and most celebrated.” She knew how to play the game better than anyone. Her concern really was to change actors into characters. Edith said, “I make people into what they are not - ten years older or younger, fatter or thinner, more handsome or more ridiculous, glamourous or sexy or horrible. The camera never lies, after all, so my work is really an exercise in camoflauge.” After so much research on Edith Head, how do you think her legacy has influenced the costume industry today? High fashion is of the moment and the best of costume design is timeless. You must remember that costumes were often completed a couple of years before the release of the film.

A perfect example are Elizabeth Taylor’s gowns in the 1951 for “A Place in the Sun.” The film was shot in 1949 and released in 1951. The silhouette was the most important aspect of any of the ensembles; therefore, the costumes in the Academy Award® -winning film could be worn to any society event today.

“I make people into what they are not - ten years older or younger, fatter or thinner, more handsome or more ridiculous, glamourous or sexy or horrible. The camera never lies, after all, so my work is really an exercise in camoflauge. ” ~Edith Head The woman wearing it evoked an air of classic couture and looked as dramatic as Liz did when she danced with the dreamy Monty Clift! Edith had the ability to shape each gown to a character or image. This is what made her as popular with film directors as with the glamour girls she dressed in both their private lives and screen roles. I see so many designers paying homage to the classic Hollywood glamour...that is without a doubt a tribute to Edith Head.


Channel Your Inne

N’cholé F

er Audrey Hepburn




High Tea

The Modern American Duchess Lauren Stowell offers highs teas and e-commerce.


merican Duchess Company began in 2010 after Lauren Stowell had been blogging about historical costuming and realized there was a need for an accessible way to purchase

American Duchess is a wellknown source for historical footwear specializing in period accurate shoes and accessories. How did you get started specializing in this arena of fashion? I started American Duchess

historically accurate footwear. The small business based in Reno, Nevada, offers a wide selection of footwear and accessories options for the modern day costumer; but more than that continues to educate people on the original American Duchess blog about all things historical fashion and events related.

Company because I couln't find any lovely, affordable, historicallycorrect shoes to wear with the costumes I was creating. I was so frustrated with this; and thought that maybe other women in the historical costuming community might feel the same way. I did a poll on my blog and got quite a big response with a


ROYAL Arts Center dressed in period costumes. Can you explain this type of event and what do you think attracts people to participate in these themed soirees in today’s times? There are a lot of different kinds of events - from fairs, to battleground reenactments, to high teas and picnics. My local group likes to dress (left and below) Lauren Stowell, Co-Owner of American Duchess, wearing her own designs she tailored herself.

many comments, and so, developed a prototype for an 18th century dyeable satin shoe. We did a pre-order - kind of our own "Kickstarter" - and it was popular. We did a production run and have been going ever since. There is an array of lovely events dedicated to historical themes which attract many admirers of these time periods in today’s modern world. For example, American Duchess recently attended High Tea at the Brewery


ROYAL up for fairly casual events, like tea it's a fun way to be social and wear something you've created. Events are a way to express yourself and share your passions. I meet a lot of women online who are making these incredible gowns but don't have anywhere to wear them. We can't stop ourselves from making them, though! So I always advise them to put on their own little tea, etc. In many cases, there are these high teas, dances, fairs, or chattaquas going on anyway, and they present the perfect opportunity to "invade" in costume. One of my favorite things to do is "invade" and then get to talk to the public about what I'm wearing, and why I'm wearing it. It's an opportunity to teach a little about fashion history, and the history of women, too. American Duchess supplied the shoes for a beautiful photo shoot recently with the concept of “Downton Abbey Glamour� at the Cobb Mansion in Virginia City, Nevada. What was this shoot for and how were you and your team able to capture the time period so


well in these images? This particular shoot was for our holiday campaign. We wanted to evoke the feeling of opulence and past grandeur to support the "Astoria" Edwardian style that was coming into stock in early December (2013). We provided the shoes, stockings, and one of the gowns. The models in all our photo shoots are historical costumers themselves. The gorgeous woman in the orange dress, Liza, made her gown, and did the hairstyling for herself and Tori (her foreign exchange student from Italy, who was posing in the lavender dress that I made). The photo shoots tie in with the lifestyle that is historical costuming. It's a crafting hobby, but the final outcome is, of course, to wear your creation and feel beautiful. With the imagery, we try to evoke that sense of history, grace, and beauty. We look for locations that have that feeling of the past, and usually shoot with natural light. My husband and partner Chris does the primary photography; and I've started to do a little as well. Usually there

is a bit of story going on. For the Downton shoot, the idea was that the young lady was preparing for her first ball or her debutante party, and her mother was assisting. Having a story helps connect to the intended audience, and also helps the girls pose which can be daunting, and is more difficult than it looks. Your website is categorized in four categories: Renaissance, 18th Century & Regency, Victorian & Edwardian, and 1920’s. Do you personally have a favorite time period and why?


currently). As for our shoes, I love them all; and I adore 18th century, but I'm there are so many yet to do. I think my favorite getting more into the 1870's shoe we've ever done is Tavistock button and 1880's bustle periods boots. nowadays too. I've never stuck to just one period, "...for the Downton {Abbey though. I love 1930's, 1950's; and I started costuming in Glamour} shoot, the idea was the Elizabethan, which will that the young lady was always hold a place in my heart. Fashion is fascinating preparing for her first ball or her in any time period (even

debutante party, and her mother was assisting."


ROYAL How important do you feel historical costume and design is to the modern production of fashion? I think it is immensely important. I love seeing designers like Vivienne Westwood and John Galliano so blatantly draw from the past. Yes, PLEASE, bring it back! It is equally as interesting to see movies and TV shows influence fashion, like the big trend for 1920's that burst out of "The Great Gatsby," "Boardwalk Empire," and the later seasons of "Downton Abbey." We could all do with a little more polish these days, and the fact that people are wearing fully- beaded gowns and slim-cut suits to parties is really exciting. What are the main differences in shoe designs when taking a look at the different time periods on your website? When I start a new style in development, it starts with research. I look for the hallmarks of a time period, and incorporate all of those into the shoe that will represent, say the Edwardian period or the 1920's. I have to


look at heel heights, last shapes, the presence or absence of toe counters, where the seams are, etc. There are some big shifts between periods - for instance, in the 1790's, you get really pointed toes, but by the 1830's, you get very square toes. The toe shape shifts back to pointed in the 1890's, which persists until about 1925 - when the toes go round. Heel shapes change; or heels disappear altogether. I try to create a shoe for each period that "hits the nail on the head" and can work across a variety of uses. Often you get cross over. A lot of the Edwardian styles also work for the 1920's. Victorian boots work for Edwardian. A collection I'm working on now will work for the 1850's through the 1880's. Big changes occur in fashion during those decades; but the footwear changed only minimally, and at a much slower pace. Facebook @American Duchess Twitter @AmericanDuchess Blogspot @AmericanDuchess




hanks to people like Veronica Cizmar, those who enjoy the musings of a time gone by are able to do just that. Some Like it Vintage is one of the few places in the world where not only can one purchase vintage wears, but also purchase reproduction pieces in new fabrics and modern sizes through the charm and grace of Cizmar's skilled hands. Cizmar has seen a rise in


popularity of vintage pieces lately. "As we head into the second decade of the 21st century, I encounter more and more people who want to turn back to embracing a more gentle past and a simpler way of life, less complicated and less stressful." As a connoisseur of historical fashion and a true "modern vintage" lifestyle individual, we were happy to hear her musings on the subject.




SHOP Can you describe your shop, Some Like it Vintage?

What is your favorite era of clothing and why?

Founded in 2004, Some Like it Vintage is a global company specializing in vintage and reproduction clothing. We have items dating from the 1880's to the 1980's and proudly donate a portion of all sales to help end violence against women - a subject that I am all too familiar with. Once held hostage for 18 months, tortured and beaten by my fiancĂŠ, I have successfully recovered and now devote my time to running SLV, volunteering and training in martial arts.

It is difficult to choose one specific era. For a long time it was the 1950's and the feminine silhouettes. However, I am embracing the late 1920's and early 1930's more these days. The clothing was less restrictive on a woman's body, but still feminine. The empower- ment of women was growing also - finally having the right to vote and taking charge of their own lives. Women were becoming more vocal and strong in the public domain, so the symbolism of doing away with corsets and restrictive clothing was huge. Women today, I am sure, can still relate to the struggles of our ancestors.

How did your upbringing shape the way you look at vintage fashion? My parents were impeccably dressed in the 50's and 60's and insisted my sisters and I were also. Whether it be school, church or visiting friends there was always an appropriate outfit for every occasion and event. My father insisted on wearing a tie and a clean, white pressed shirt to his weekly bowling league - to the dismay of my mother's many laundry days!


"My parents were impeccably dressed in the 50's and 60's and insisted my sisters and I were also. Whether it be school, church or visiting friends there was always an appropriate outfit for every occasion and event."

1920's Embossed Printed Japanese Kimono

SHOP How do you find pieces for your store? There are many places I can find great pieces for my store. I still thrift, but not as much these days. Most of my inventory comes from private sales - people will call me up and offer me the run of their closets. Hoarders are my best haul! When they run out of space, they give me a call. Auctions are also a great way to find treasures. With the internet, so many more auction houses are posting their items online - very convenient!

"Women were becoming more vocal and strong in the public domain, so the symbolism of doing away with corsets and restrictive clothing was huge. Women today, I am sure, can still relate to the struggles of our ancestors."


What are the biggest construction and fabric differences you see between fashion today and fashion yesterday? The biggest change in construction is the use of less fabric. A long time ago, manufacturers figured out ways to cut their patterns using more of their bolts of fabric and having less waste. While I am all about less waste, this resulted in unfinished seams, small hemlines (not being able to lengthen that garment anymore) and often opting out of using linings. Obviously, what was to follow was the use of cheaper fabrics too - all in an effort to make more money using less fabric. Today we have an industry of disposable clothing - nothing lasts after a few washes. Pilling, color fade, shrinkage and quickly changing fads in fashion all lead to major waste. Classic pieces and styles may cost a little more at first, but last much longer.

1930s Espresso Brown Ruffled Net Gown

1940s Black Crepe & Sequined Illusion Dress by Adrian

1950s Two Toned Blue Ruffled Nightgown by Vanity Fair

1950s Green Embroidered Gown

1960s Gino Charles Silk Shantung Turquoise Beaded Dress

1970s Gold LamĂŠ Lurex Beaded Hostess Gown



EFFECTS French born photographer, Emmanuelle Choussy, has an innate ability of capturing the world through her artistic lens...we dig her style. Photographed by Emmanuelle Choussy


Photography and editing by Emmanuelle Choussy Assisted by Romain Leroy Creative directIon by Marc Bensemhoun Styled by Joey Tierney and Haute Street Hair by Lea Journo and her artistic team Location at Beverly Wilshire Hotel, Los Angeles, CA Makeup by Adela May-Pino and Amy Vu


fter opening her own communication/photo agency nearly a decade ago, Emmanuelle Choussy has caught the eye of editors, celebrities, politicians, fashion designers and prominent sports figures throughout her career. To this day, she remains utterly inspired and inspirational. Constantly switching from one project to another, this tireless professional continues to amaze the public with her themed shoots, fine art and high fashion editorials. Choussy moved from France to Los Angeles in 2009. She has worked with the likes of Oliver Stone and is crowned a worldwide published photographer. Recently Choussy completed an entire 1960's themed shoot at the famous Beverly Wilshire Hotel. She had much to say about her retro innovation and why it is important to look back at fashion photography through the years.


You recently completed a 1960’s inspired photo shoot. Why did you choose this era? I was actually hired as a photographer by the hair salon inside the Beverly Wilshire Hotel. When we prepared the photoshoot, Lea Journo (founder and owner of the salon) proposed this theme. Because at this time [spring/summer 2013] we saw a lot of fashion advertising campaigns in the same mood. It wass really the atmosphere in the air for a few months in the fashion industry. You know the saying, “Fashion is an eternal renewal.” It was the occasion to have our vintage photo session. We also had the great chance to work at the Beverly Wilshire Hotel. A dream came true for me. I was watching “Pretty Woman” when I was 15 years old in France, and now I am in charge of a fullday fashion shoot with eight models and four agencies where the movie was shot.



Photography and editing by Emmanuelle Choussy Assisted by Romain Leroy Creative directIon by Marc Bensemhoun Styled by Joey Tierney and Haute Street Hair by Lea Journo and her artistic team Location at Beverly Wilshire Hotel, Los Angeles, CA Makeup by Adela May-Pino and Amy Vu

Where do you draw inspiration from when selecting locations, models, fashion, hair/makeup etc…? When I am in charge of the production of a photoshoot, the period before (the preparation of the session) is probably more important than the photoshoot itself because the quality of the edited photos will depend on BELOW AND OPPOSITE PAGE Photography and editing by Emmanuelle Choussy Assisted by Romain Leroy Creative directIon by Marc Bensemhoun Styled by Joey Tierney and Haute Street Hair by Lea Journo and her artistic team Location at Beverly Wilshire Hotel, Los Angeles, CA Makeup by Adela May-Pino and Amy Vu

the quality of the research you do prior to the shoot and the team you are able to build. It is a long work of preparation to meet people, choose the most specialized partners for the theme you decide to work on and the most devoted crew. All these ingredients mixed together are able to create a good energy and a good photoshoot. I find my inspiration all around me. As for myself, everything always starts with the location. When I have the location, images and framings start to appear in my mind. Then I see the models, the outfits, the hairstyles, the makeup...etc. My crew ceates the magic to help me achieve these images. What are the biggest differences you see in fashion photography today as opposed to fashion photography in the 1960’s? Your question is funny because I was recently working in Dallas for a photo report about President JFK’s last hours. I am totally fascinated by all the glamour around the Kennedy family. When I was preparing my report, I looked at many photos of Jackie and John together or separate and realized how they started to use television for their communication and how their outfits were completely studied and mastered. The standard of fashion photography, of course, has changed since the sixties. I would say that today the picture is less spontaneous and less natural. Even if it seems that the “photo retouching” already existed at the relevant time - remember

the "rigged pictures" that have been submitted to the public according to the official thesis explaining the JFK assassination today's post-production has became the rule. Your photos are not considered professional if they are not edited. This is the most important difference in my opinion. Who is your favorite photographer from fashion history? I really love Mario Testino's and Rankin’s work. These are two great artists with very different styles. I had the chance to meet Rankin twice at his gallery located on Melrose Avenue. I even interviewed him for a magazine

in Los Angeles (LA HOT magazine) was a great moment. Any more historical shoots on the horizon and what era would you like to conquer next? Why? Absolutely! I am plannning another photoshoot in the Californian desert this time, for a French fashion designer who creates dresses and corsets ( She is going to release her new "vintage" collection and we will probably include a famous television actress and a young beautiful singer Everything will be on my website. I will keep you posted.




Vintage Miriam Haskell Pearl and Rhinestone Collar Circa 1928, Miriam Haskell or Frank Hess. Photo permissions by Miriam Haskell New York.


iriam Haskell is the Edith Head of costume jewelry, a fashion icon of the 20th century who arrived in New York City in 1924 with $500, opened her first jewelry boutique, “LE BIJOU DE L’HEURE,” in 1926 at the old McAlpin Hotel and became fast friends


Modern Charm & Chain Ben-Amun Bridal C&C. Photo permissions by Ali Galgano/Charm & Chain..

before teaming up with designer extraordinaire Frank Hess to build an everlasting accessory dynasty. Personally commanding the reins of luxury costume jewelry for nearly half a century until the late 1960s, her colorful creations adorned movie stars, socialites, and royalty on film and off, though her mission was always to provide affordable

jewelry to chic women whose daughters and grand- daughters would pass the pieces down through generations like real estate. Haskell’s timeless stamp of hypnotic color and scintillating style breathes life into almost every creation on today’s market Haskell 4" Egyptian save only the too-camp and flash- shoulder-duster tassel trendy. Alexandra Galgano, founder earrings. Photo provided of online retail sensation Charm & by Rehab Exchange. Chain, says, “So much history is translated into what’s out there today. Very few de- signers are starting from scratch without looking to the past.“ Haskell, Hess, and their success- ors are ‘the past’ when it comes to the comeuppance of state- ment jewelry beginning nearly a century Miriam Haskell Pearl ago with the unveiling of the first Brass-on-Gold Filigree Miriam Haskell collection.



“The early jewelry often reflected themes from nature that would be carried throughout the history of the company. Vines, leaves, flowers, butterflies, and birds show up in wonderful variations in an assortment of materials,” write Cathy Gordon and Shelia Pamfiloff in Schiffer Publishing’s luminous show book, “Miriam Haskell Jewelry.” It has been said that Haskell wasn’t so concerned with what personal adornments she wore, but rather the next big wave of fashion influence. With pal Coco Chanel she traveled many times

8-Strand Collar. 1940s, Frank Hess. Photo by v k jewels.

Vintage Miriam Haskell Gold Tone Rhinestone Earrings. Photo by Janelle Maas.

Modern Dannjo Rex Earrings, Charm & Chain. Photo permissions by Ali Galgano/Charm & Chain..

Modern Assad Mounser Day-Glo Rococo Collar, Charm & Chain. Photo permissions by Ali Galgano/Charm & Chain.

Modern Lizzie Fortunato Banana Leaf Crystal Earrings, Charm & Chain. Photo permissions by Ali Galgano/Charm & Chain.





Miriam Haskell Clustered Glass Bead Cascade Necklace. Post WWII, Frank Hess. Photo by Isaac Gogerman/IMJM Antiques and Vintage Couture on Facebook.

ANTHROpologie Blossom Garland Necklace. Photo credit by ANTHROpologie. Permissions by Brittany Masset.

to Paris shopping for beads and commiserating about how the jewelry would enhance the destiny of couture apparel and vice versa.

of Haskell’s creations from 1926 until the 1960s when mental illness separated the visionary’s spark from all that glittered.

By the early 1930s the Duchess of Windsor owned a large collection of Haskell designs. Lucille Ball, Elizabeth Taylor, and Gloria Vanderbilt were also among her aficionados and rumor has it that actress Joan Crawford amassed every one


Still the dynasty grew. Frank Hess’ genius (1926-1960) was perpetuated by Robert Clark’s marriage of art and construction (1958-1968), Larry Vrba’s marriage of tradition to broader market demands (1970-1978), and Millie Petronzio’s fastforward marketing prowess in




(left) Miriam Haskell Bead and Crystal Floral Motif Necklace. Circa 1958, Robert Clark. Photo provided by Cynthia J. Alcott.

(left) Miriam Haskell Speckled Art Glass Bead Pendant. 1940s, Hess. Photo by eBay seller Go4Toys.

(left) Miriam Haskell Huge Bib Necklace. 1960s, Robert Clark. Photo eBay seller Glitz 4 U.

part distinguished by the company’s debut of a Haskell numbered, limited edition “Retro Line” (1980 onward). Two things have set genuine Haskell designs apart: collector’s value and continued impact on contemporary jewelry design. Identifying a true Haskell has become no less than art, with countless tips abounding for




(left) ANTHROpologie Gem Bouquet Bib. Necklace. Photo credit by ANTHROpologie. Photo permissions by Brittany Masset.

(left) ANTHROpologie Cochineal Trove Pendant. Photo credit by ANTHROpologie. Photo pdermissions by Brittany Masset.

(left) Tom Binns Neon Gold Necklace of Rhodium-plated Swarovski crystals and resin. Photo permissions by Ali Galgano/Charm & Chain.

ensuring authenticity: hooks, lobster claws, signage, stamping, bead shapes, thread fibers, gold filigrees, and evolving construction. Values continue to escalate depending on rarity and condition. The ingenuity, intricacy of craftsmanship, and composition, although to some extent indicative of respective eras, nevertheless deem the jewelry ageless and timeless.




wears the clothes that brings it to life and brings out the culture in their history.

I wanted to understand the life of a flower - from the day it was put into the earth and into the root to becoming the beautiful flower it is; until it faded and died and was born again next season...just like fashion.

Have you been able to utilize any design techniques of the Renaissance era, in your current collection?

You have so many Renaissance influences in your work. What is it about this particular time period that inspires you? I love classic, very romantic looks, but at the same time dark - period wise - is too much to understand. It is more of the character of the person that


I love to work with dark colors and gold and also love to have a Asian influence into it, but to make it wearable and modern for the public eyes to see. How are you able to perfectly blend historical fabric references with an elegant, modern look? By understanding the way women dress nowadays and understanding what is hot and trendy. Also by





using historic color and learning to manipulate the fabric into modern designs - combining the old with the new. Describe the general process you go through to design and realize a piece of clothing.

design? I love to work with my hands. I am a hands-on person. I like to sculpt my creation, rather than drawing them. I'm a 3-D Artist; so I have to visualize it with my hands by draping it first before putting it down on paper.

I realize each dress by imagining a person or a character that is wearing that dress. Who is she? What does she do? What is her role in society? How is she influenced culturally and historically - bad or good?

All Danny Nguyen Couture designs are photographed by his brother, David Nguyen. You may view more photography by David Nguyen on his website at

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Théâtre de la Mode The dolls that saved paris fashion


t the conclusion of World War II in 1945, Paris was in complete disarray. Beacuse of wartime disruptions, virtually everything was in shortage including textiles, electricity and the wealthy couture-buying upper class. In 1939 there were 70 haute couture houses including the grand establishments of Callot (now Calvet), Chanel, Shiaparelli and Balenciaga. As the war went on, many closed and others teetered on the brink. With their wealthy clientele dispersed elswhere, the future of Paris fashion was bleak. Forming a collaboration with artists, set designers and the masters of couture, the Théâtre de la Mode was born. Robert Ricci (the son of Nina Ricci) had the brilliant notion to use dolls and staged settings in lieu of live models. Ricci turned to a twenty-year old illustrator named Elaine Bonabel to design the mannequins. The mannequins needed to be standardized so that all the designers could work in the same

scale. She conceived the transparent, wire shapes - much like a clothes hanger, - that would not detract from the garments. In fact, she didn't want them to resemble toy dolls, as they had to enhance the clothes. Wire was also a readily available material in war ravaged Paris. The mannequins were 27 inches in height. They were 1/3 the size of an actual human, which not only saved considerable money by reducing the cost of material and labor needed to hand sew the original designs, but by eliminating the model altogether,

Théâtre de la Mode was able to travel throughout Europe and North America showcasing Paris fashion with considerable ease. Each couture house created up to five designs each. Each designer worked within the same miniature 27-inch scale. Work on the clothes progressed during the winter 1944/1945. These miniature gowns and accessories were painstaking in their detail. They had proper linings, closures, buttons and trimmings. Many were hand-

beaded and designers often provided foundation garments. In the end, fifty-three designers collaborated on the show that became known as "Théâtre de la Mode." Among these were Balenciaga, Balmain, Callot (Calvet), Carvin, Fath, Hermès, Lanvin, Madam Gres, Nina Ricci, Shiaparelli, Patou, Pacquin, Van Cleefs & Arpels and Worth. Youtube Video @Marcela Calvet


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nod to mod


A vintage magazine collector shares her 60's and 70's magazines with us and tells us why she gives a nod to the mod era. Jo Claire Dodson has been a good friend of mine for several years now. She owns an art school nearby my home and is one of the best souls one could ever know. For the longest time I have heard Jo Claire talk about her vintage magazine collection, and being the fashion inquisitor that I am, I have been chomping at the bit to go peruse through her precious collection. A couple months ago, I got my chance. I met Jo Claire at her art school where she pulled out her box of treasures...and yes, I absolutely died and went to heaven. Among her collection was a 1960's French Elle, Glamour's, Seventeen's and an out-ofprint magazine called Ingenue. I pawed through the pages for what seemed like hours as Jo Claire made


her expert commentary along the way. My personal favorite piece was a fashion spread released after the premiere of the 1968 film, Romeo and Juliet. The garments were breathtaking and the location was perfection. They had used the original actor and actress for the shoot, which made it so timely and interesting. I may be partial to that particular spread because my mother was a literature teacher, and I had seen the film at a very young age. After taking tons of photos (and then finding out later from CondĂŠ Nast I could not use any of them for this article- gasp), we went and ate girl's night out ever! (right) A Glamour from Jo Claire Dodson's vintage magazine collection. William Connors Feb. 1, 1969. Permissions by Keshida Layone/CondĂŠ Nast.

COLLECTOR Now a couple things to note about Jo Claire and why I wanted to interview her: Not only is she an excellent artist with a keen eye for creativity, but she is also a fashion designer. She began a line in 2011 fashioning pieces from faux fur as a side project and aptly named her line, Just Faux Fun Furs...of course. Oh, I should also mention she is a huge animal lover and supports several animal rights organizations. Such the flower child! Her views on fashion, art and life, in general, are inspiring and very insightful. Read our interview and find out why I love her so might learn a thing or two along the way. When you look at your vintage magazine collection, where does it take you? When I look at my magazine collection, it takes me back to the mid 60's when there was such an explosion of creativity in art, fashion, music, literature, film and so many other areas. I was in the 4th grade when the Beatles came on the American scene and brought with them the influences of the London club scene. It was called the "British Invasion" and indeed it was. From Mary Quant's mini skirts to Ossie


Vintage magazine collector, Jo Claire Dodson's fashion line - Just Faux Fun Furs.

Clark's bold graphic prints, it was a kind of Renaissance. Everything was being examined. Lifestyles, politics, women's role in society...suddenly everything was being questioned. There were uni-sex haircuts and clothes, experimental music and art, everything was up for grabs. Our culture was spinning with new ideas in every sector. Artists, musicians, fashion designers, film making,

photography, theatre... all genres were experimenting with new concepts and it all flowed right to the runway. There was Plastic Age sculpture in the galleries, on the runways and featured in fashion magazines. Fashion suddenly got very colorful and fresh. Mini skirts, scarves, sparkles, abstract designs, flowing fabrics, knee high boots, oh my goodness, how exciting it was to pick up a fashion magazine! My dad worked in downtown Little Rock and there was one international magazine stand there. He would bring home the latest issues of the London Times and magazines from around the world so my exposure to the latest trends came from those sources as well as the American publishing industry. What do you feel is the main differences in magazines from the 1960's and 1970's eras and today's magazines like Vogue or Elle? The main difference I see in magazines today is in the quality and cost of goods. When I was a teen, clothing was well-made and affordable. There was a shop in Little Rock called The Village where you could find clothing straight out of Seventeen and Glamour maga-zines. The cost of a dress or shirt was within reach of the average family. These were quality fabrics

Vintage magazine collector, Jo Claire Dodson, at Laurel Park on an art class outing with her students..

with top of the line brand names for youth such as Lady Bug, The Villager, Pied Piper, Evan Picone, Jr. Petites, Bass and Nina name a few. When I look at magazines now and see that a pair of designer shoes start at three hundred dollars or a shirt or jacket is priced in the thousands, I feel sorry for young people today. I wonder how they can aspire to such a dream of owning anything quality made by a designer for an affordable price. I still have clothes from The Village, The Horse and Gus Blass Store from downtown Little Rock that are in excellent condition. Not one lose thread! My sister and I wore this clothing on a


COLLECTOR regular basis and every piece still looks new. I feel it's a real shame that the quality of fabrics has cheapened while the pricing of goods has become so outrageous. I do still love the quality of photography in fashion magazines. The fashion layouts are still beautifully done, and the articles are usually very timely and informative. There are some wonderful writers in the fashion industry. So overall they have maintained a good product. It would just be nice to see more often some reasonable prices on quality goods.

"When I look at magazines now and see that a pair of designer shoes start at three-hundred dollars or a shirt or jacket is priced in the thousands, I feel sorry for young people today." 70

Who were the hottest models in the 1960's and 1970's? Oh wow! One of the hottest models known by name was the English model, Jean Shrimpton, called "The Shrimp" for her long willowy legs and small sinewy body. Twiggy was the next big name after Jean. Twiggy and Jean were both from London and Twiggy, of course, introduced us to the skinny model body type with the big eyes and thick mascara. Twiggy was often in photo shoots with model Patti Boyd, the beautiful blonde who married Beatle, George Harrison. They met on the set of the Beatles movie "A Hard Days Night." That film will show you a great overview of hairstyle, makeup and clothing of that period...all fun! Another prominent model on the scene was Verushka, a German Countess known for shoots in those wildly colorful Pucci bathing suits and body painting. There was also Penelope Tree with her hollow cheeked "look" from the swinging London scene. Jane Birken, for whom the Hermes Birkin bag is named for, and

Francoise Hardy a French model and singer were two other well known models of the time. The big model in the US was Colleen Corby. Her face was wellknown but you really had to be a fashionista to know her name. This, remember, was before celebrity and the internet. Models rarely had the kind of status they have today. Colleen was a tall, healthy-looking brunette with full lips and round gorgeous eyes. Her hair was always in the perfect flip do. She had thick, straight bangs and was a knock-out in anything she wore. After Colleen, Cheryl Tiegs

appeared on the scene and was the epitome of the "California Girl" look: Healthy, tan, fresh- faced and full of life. Cybil Shepherd, the actress, was also a regularly featured model in all the major fashion magazines. Cybil was a pretty blond - straight out of the south, Memphis, Tennessee. American, Marisa Berenson, was another familiar face on the hottest fashion landscapes. Marisa had delicate features with rather exotic, big round eyes. Celebrities were rarely featured on the covers of vintage fashion magazines.

A painting of 1960's fashion model, Patti Boyd, hangs inside Jo Claire's art school. The painting was completed by Jo Claire Dodson.

COLLECTOR What do you think has changed in our culture that created such an obsession with fame and how do you think this affects our culture now? Frankly, I could go forever without seeing another celebrity face on the cover of a fashion magazine. Somewhere along the way we became enamored of famous people and their lives. There was, of course, some of this in the sixties, a kind of fascination with actors and anyone famous in the entertainment industry. However, intrusion into their personal lives was not the same as it is now. We didn't have cameras on phones and television was only three major networks. Cable was unheard of! There was no internet, twitter or instagram. Communication was not instant and it did not dominate our lives. We had to wait for the news to come on television at the end of the day or early morning, the newspaper came out once a day and the radio had news updates about once every hour. There was no such thing as a 24 hour news channel nor was entertain-


ment considered "breaking news." Breaking news meant something major had happened, like when President Kennedy was killed in Dallas, Texas. Breaking news was not who won American Idol or which famous person was admitted to rehab...again. Our technological advances have made what pop artist, Andy Warhol, said come true,'...someday we will all be famous for 15 minutes.' It has definitely made Jo Claire Dodson can still wear this 1967 Nehru dress (The Cottager) she has had since the 7th grade.

us a more narcissistic society and that is not good for any of us. We can't all be famous and why should we want to be? The person who does small acts of kindness and is unknown is just as important as the person on the magazine cover. When everything we do becomes media worthy, then we will become a self referenced society. It makes us have less empathy and compassion for others when it is "all about me". A healthy society is one where people are not afraid to be vulnerable and imperfect, and to love each other in spite of imperfections. The "perfect" images of models and celebrities, all photo shopped beyond any reasonable expectation for any normal human being and prices for fashion well beyond the average person's paycheck is producing major illusions for many people.

"Breaking news was not who won American Idol or which famous person was admitted to rehab...again."

Jo Claire Dodson shows off her sixties fashion with a vintage fringe jacket and a few of her magazines. Photo by Theresa Roebuck.

The fashion magazines of the sixties represent a more sane time for me. Our expectations were more balanced. People think the sixties were wild, but really, when you look back at all the creativity you have to acknowledge that people were in touch with something very important and that was their individual creative spirits or some would say...their soul. My hope is that our culture's obsession with fame and fortune will subside so everyone will feel acceptable and more loving towards themselves and others just as they are. Letting your very own personal light shine is the best of fashion! THE-ART-SCHOOL



A Portrait of




he Calvet Paris label can be defined by its elegance, sophistication, and style. They may be most recognized for their rich heritage bearing the name, the integrity, and the exclusivity. Recognizable for their vibrant shades of cognac, deep burgundy, and garnet - coupled with superblycrafted hardware accentuates the skins of this exquisite line of handbags. However, one must not take for granted that Calvet Paris is more than skin deep. In fact, one can take note of a fashion history lesson while learning more about the label. Hear it from Marcela Calvet, herself.

Four sisters - Marie, Marthe, Regine and Josephine - started the original label for Calvet Paris, which at the time (1895) was called Callot Soeurs. What do you know about these women and what is their relation to you, Marcela? Marie, Marthe, Regine and Josephine came from an artistic family. Their mother was a very talented lace maker and on their father's side they were descenants of Jacques Callot, a baroque printmaker and draftsman from the Duchy of Lorraine. To this day, he is considered one of the most important figures in the art of etching having made over


1,400 etchings which chronicled the life of his period, including court life. From an early age the sisters demonstrated a special talent for dress-making and thus, they pursued this talent. Whereas Marie (the eldest) was formally trained, the other three were taught by their mother. Early on they began to work with antique laces and ribbons that they would use to enhance their own garments. Their first shop sold antique lace, ribbons and lingerie but soon their talent and innovation became noticed which led to the opening of their first atelier in 1895. From then on, they quickly became the rage of the Parisian fashion scene, earning a reputation for their attention to detail and the incomparable beauty of their designs. Their relation to my family came to be during the 1920s. My family, being amongst the most ancient in France, had been in the wine business since 1819 and also, being great supporters of the arts (refer to the Calvet Museum in Avignon), were familiar with the etchings of Jacques Callot. The relationship between Calvet and Callot was one of business. Calvet had become an investor in the Callot label; allowing the sisters to expand their atelier, hire and train more seamstresses, move to more prom-


inent quarters to serve their elegant clientele and enhance their perfume line. By the 1920’s Callot Soeurs was a sought after label for their dresses and capes and the house launched its line of French perfumes - its first named “Bel Oiseau Bleu.” What did the fashion industry look like at this time and how did the Callot Soeurs label overcome the challenges of this time period? Following the war, Europe was in crisis because even though France had came back victorious, the First World War had a big impact on the morale of the French. Indeed, they had seen so many disabled people and a lot of them lost part of their family, so after four years of distress and austerity they wanted the war to be the "der des ders" (last of the last). They felt they needed to enjoy life to the fullest once again, thus starting a new period full of lightness and distractions. This led to what became known as the "Années Folles". This fascinating decade which began after the First World War and ended with the economic crisis of 1929. During this period, the behaviour of the French suddenly changed, with an aspiration to joy and debauchery, particularly in the upper and middle classes. The French tried by all means to get rid of the pre-war values.

industry, and thus quickly adapted to those changes. Furthermore, the fashion industry grew to such a degree, greatly influencing the women of the time. Thanks to fashion, Parisian women of the time could openly express their new freedom and assertiveness. Callot Soeurs and their stunning designs and Tango skirts, were at the forefront of this new freedom. In 1937, la Maison Calvet acquired the Callot label retaining its original name. What happened under the new leadership of the Calvet name?

This effervescence was most important in Paris, where, thanks to the influences coming from all over the world, mentalities and ways of living were revolutionised. The Parisians, thanks to the progress in great expansion, adopted a new, more modern lifestyle. They took advantage of this new freedom and some of them adopted an unbridled and exuberant behaviour. The most considerable social change was certainly the feminine emancipation. Indeed, most of the women were alone during the War, and it changed their status in the society. This did not go unnoticed by the growing fashion


In 1928, the eldest Callot sister, Madam Gerber decided to let her son Pierre take over the business but by the late 1920s fashions were changing once again, as the world was about to embark in an economic crisis. If the Callot label was to survive and continue to thrive, then changes in the management were paramount, thus the House of Callot became part of the House of Calvet in 1937. This made it possible for the label to further their expansion to their largest and most prestigious atelier and boutique at 41 Avenue Montaigne as well as to launch their exquisite perfumes like Mariage d'Amour, BAO, JEEP and Dieu du

Jour. Additionally, designing and creating their stunning one of a kind handbags in exotic skins. Late in the 1930’s the House of Calvet retired the Callot label whilst maintaining the integrity of the original label - a preeminent couture house, by not placing the signature inside the beautiful handbags. Instead

they simply bore the stamp “Made In Argentina.� Why do you think this decision was made and how do you feel it payed homage to the original label of Callot? Indeed, their exotic skin handbags did not bear the Callot label stamp on them because the house was primarily known for their Couture. We have to think


Today, the much sought after Calvet Paris label is regarded with the utmost sophistication and exclusivity. Looking back over its long history, how do you incorporate the current label with a time gone by? Behind the Callot Soeurs label there's so much history, tradition and innovation. I try to adapt to the challenges that the world of fashion imposes today, without compromising the essence of the label, always staying true to that heritage. We live in a world of mass-production and immediacy but that is precisely the opposite of what Haute Couture


stands for. My label is a part of the history of Parisian fashion and thus, my desire, my passion and my duty is to safeguard it, treasure it and nurture it. Our esteemed clientele understand this and I feel very fortunate that they share their desire to be a part of what is exclusive, genuine and true to its roots. FUN FACT: The fashion house

Croirier’s was F. Scott Fitzgerald’s fictional creation in "The Great Gatsby," but in Paris in 1922, the year Gatsbys guests danced away summer evenings, the Callot Soeurs maison de couture were busy designing stunning evening gowns.

Callot Seours Haute Couture dress, Paris, France. Image provided by Marcela Calvet.

in perspective of the times and the culture of the Parisian. Those who made couture only placed their labels on the garments, those who made luggage did the same, perfumes of course, bore the name of the maker. Handbag or shoe makers did the same but only when they were known for that exclusively. The idea of placing the logo or name everywhere was regarded as "not in good taste" by the Parisians. That's the reason why the handbags did not bear the Callot label stamp -- it was a concerted effort to keep the integrity of the label which was a preeminent fashion house known for their Couture and having been one of the first fashion houses to have earned the HAUTE COUTURE designation, a merit only reserved to the very few.

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