Square With Flair

His and Hearse; Going Out In Style

2011-09-04T20:54:00.002-04:00

recent model Cadillac SUVthe Cadillac Escalade hearse is very similar to the big black Cadillacs people use for getting to work and shopping

I've noticed an awful lot of those bulky Cadillac Escalades around the city. In spite of their scale and capacity, inevitably they are occupied by only the driver.

The trend has been around for a few years, but a great many of these vehicles continue to be black. For the past 50 years that I've been around, "black Cadillac station wagon" has been synonymous with "hearse." Personally, having the choice, I would prefer not to be transported in one of these hearses, but perhaps my sensibility is overly delicate.

Apart from that, I am amazed that the drivers of these large vehicles seem to be unaware of any environmental impact in terms of manufacturing, fuel consumption, dissipation of heat, and wear and tear on roads. They also take up a lot of unnecessary space in a crowded world. I am at a loss to understand why people wish to make such grand statements at a time when more than ever, we must be aware of preserving resources and space.

Recently I watched the wonderful 1962 film, "The Light in the Piazza," with Olivia de Havilland. In one scene, she is driving along a verdant country road in Italy with Rossano Brazzi. The little Italian two seater convertible (perhaps a Fiat or Lancia) was incredibly chic, and almost humorously diminutive. In the film, these two characters are wealthy and worldly, and yet they looked stylish in what looked almost as tiny as a Smart Car.

What happened to modesty and charm in how we present ourselves in dress, deportment, transportation, and habitation? What happened to any sort of conscience in terms of caring for others and the world we live in?

Perhaps the drivers of black Cadillac Escalades and similar behemoths feel that they are going out in style. Personally, I'll leave the journey in the black hearse until my last earthly ride.

The Ritz-Carlton Toronto; This is a Ritz?

2011-04-02T21:41:00.022-04:00

the original and first Ritz, in Paris, opened over 100 years ago; it is on Place Vendome, and has an 18th century dressed limestone facade; photo SwF the entrance of a slightly later Ritz, the one in Madrid, done in the 18th century style, dressed stone architecture; it is also over 100 years old; the meticulous plantings in profusion, the grand historic revivalist style, and ambiance of luxury are what made the name world famous; others rushed to emulate the distinctive style; photographer unknown the south facade of the new Ritz-Carlton Hotel in Toronto; these rooms face Toronto's iconic CN Tower the main entrance of the Toronto Ritz-Carlton faces north and the massive brackets are also clad in grey resin or enamel panels; the Brutalist aspect of these supports is rather looming as one approaches the front doors; the effect is cool and dark the north facade of the Toronto Ritz-Carlton; the building is in a revival of modern International style, clad almost entirely in glass; the style has been ubiquitous for so long that it has become all but invisible although the hotel is situated in a very dense urban environment, a small sliver of park to the north of it offers much needed natural relief beautiful, 30" large bronze maple leaves set in the Perlato Sicilia marble floor of the lobby another view of the huge bronze leaves detail of a staircase in the lobby, note the different finishes of wood; the lighter wood is a very light, satin finish veneer, the back wall is of rough hewn, dark planks or narrow panels set horizontally; the railing is capped with a highly polished brass or bronze material this sculpture in the lobby is of engineered stone; considering that vast areas of Canada are covered by the Canadian shield, real stone such as rich red Quebec granite would have been more fitting; the art is typical of the lobby in the hotel; it is retiring and unemotional enough to be quickly forgotten this back patio of the Ritz-Carlton has a nice southern exposure but the appointments seem dull, reminiscent of institutional outdoor eating areas of schools and hospitals discreet flower arrangements in the lobby; in a country that has just gone through a long winter, these strike me as autumnal in colour amoeba like fixture in the lobby is strung with rows of crystal orbs; the effect is somewhat like a dazzling cinema marquis or Vegas casino sign detail of lobby decoration; the upholstered chair is very similar to circa 1962 modern ones and arm rests have been dispensed with; large expanses of light wood veneer wall covering, strange juxtapositions of scale and material in the selection of furniture give a random, unharmonised effect bar off the lobby; tubular steel chairs evoke the cheapest, mass produced kitchen sets of the 1960s; for international travellers, red lights have questionable associations and I am puzzled by this selection alcove of the lobby; wood veneer wallcovering, angular modern chairs and an ugly piece of dark brown wall art depicting a row of plants with a cross section of the earth as in an elementary school Science diagram; loose cushions in all chairs prevent one from sitting back and relaxing

Two years ago, I was excited to learn that Toronto would be getting a Ritz-Carlton. I've always been interested in grand luxe hotels and how they welcome people and make them feel pampered away from their everyday lives. I looked forward to having our own Ritz and also to my first viewing of it. Over the past six months, I've tried on several occasions to contact the hotel, in anticipation of the scheduled opening. E-mails to different departments were left unanswered, and I thought perhaps that in the rush to prepare on schedule, they were overlooked. As the opening date drew closer, I contacted management who apologized and said that they would arrange a visit. A date was proposed but unfortunately I did not hear back.

In my experience of over three decades with some average and some great hotels in North America and Europe, this is the worst example of service and communication I've experienced from any hotel, let alone one that is supposed to be five star. In terms of service, I've given up hope on the Toronto Ritz-Carlton, by both their public relations departments and management.

This aside, my intention was to study the design of the hotel rather than the service, but I have been disappointed with both areas. The exterior of the building is clad in glass, in a revival of the International style. There is nothing unattractive about the exterior, but there is nothing unique, special or memorable. The entrance to the hotel is characterized by huge overhanging brackets reminiscent of the Brutalist style of the 1970s. As I approached the entrance, it felt a bit like being in the gloomy, desolate area under a raised freeway. I peeked in the main restaurant and reviewed the menu. The dining area is windowless and has a low ceiling, giving an ambiance or lack of it, which I found unwelcoming. The decor is in a generic, modern style that can be seen in any middle of the road hotel (okay the carpets were wool rather than synthetic), or for that matter in any recently decorated McDonald's.

"Disappointing" is the word I would use to describe this new hotel. Ritz hotels around the world are managed by different companies and have varying arrangements for the use of the Ritz name. The name is synonymous with luxury accommodation, but one can see that in this case, the style is far removed from what made Ritz hotels famous. Cesar Ritz himself selected decor of the Louis XVI period, actually a revival of the style 100 years after the original. He adopted modern principals of hygiene and ventilation, and wooed the greatest chefs, sommeliers, and service people to create an environment reminiscent of a beautifully managed palace.

While these tenets, over a century old may not be entirely applicable to a hotel in 2011, there must be some sort association, even a vague one, to the great name of Cesar Ritz which is known for luxury and taste. I could not see any sort of fleeting acknowledgement to the history, nor the very definite style of Cesar Ritz, and I wondered if the designers and architects have any understanding or awareness of the Ritz heritage. This hotel is clean, new, and understatedly luxurious. It is also entirely forgettable, and lacks any associations or links with the grand style of a classic Ritz Hotel. In a very large city, with many fine hotels, this is not the hotel I would select for accommodations, a special meal, a reception, a drink, or afternoon tea. In Toronto, the closest one would come to classic Ritz style would be the Beaux Arts King Edward Hotel on King Street, managed by Meridien Hotels.

Toronto, a city of over five million people, is long overdue for 5 star luxury hotels. The Toronto Ritz hasn't shown anything extraordinary, however the Shangri-La, the Four Seasons, and the Trump will be opening in the near future, and I haven't given up hope yet of my Toronto dream hotel. In particular, I hold high hopes for the Four Seasons, as any experiences with their hotels have been impressive, and the location of the new building in Yorkville seems to be ideal.

all photos except Ritz Madrid, SwF

The Illustrious Style of Ritz

2011-03-19T18:28:00.004-04:00

the original Ritz on Place Vendome in Paris, opened in 1898; photo by Vlastula; wikipedia

classic old Ritz Hotels usually decorated with a lot of royal blue, seen here on an embroidered towel, it manages to look both elegant and crisply clean

for the Ritz Hotel in Paris and London, Cesar Ritz specified silver serving pieces such as trays, wine buckets, vases, tea and coffee services featured the classic, simple, Louis XVI reed and ribbon motif; many of these pieces by Christofle are still in use after 100 years

this Royal Doulton teacup is of the special pattern used by the Ritz, London; it features the classic Louis XVI reed and ribbon with garland motif

Louis XVI furniture, often with wood inlay, has been used at the classic Ritz Hotels in Paris, Madrid, and London

a typical piece of Louis XVI revival furniture with fluted, column-like legs, and painted wood finish

Sevres inspired porcelain emphasises the French 18th century style that Cesar Ritz himself selected for Ritz Hotels in Paris, London, and Madrid; this piece was originally intended as a milk bucket at the dairy of Marie Antoinette, in modern times it is used as a planter or wine cooler

most Ritz logos in some way incorporate a regal lion in their logo; this one is from the Ritz-Carlton (not affiliated with the American chain owned by Mariott) in Montreal
the most important piece of furniture in a hotel room is the bed; great classic French hotels and Ritz Hotels inevitably have a canework or upholstered headboard in the Louis XVI taste

a metal key fob from the old Ritz-Carlton in Boston features the head of a lion and crown

vintage table linens from Ritz Hotels featured emblems and crests reminiscent of those of French nobility, note the crown and fleurs-de-lis

the gracious arcade of the two story lobby in the King Edward Hotel, Toronto; this Beaux-Arts treasure is closest in style to classic Ritz Hotels as created by Cesar Ritz 100 years ago classical limestone detailing of the King Edward Hotel, Toronto
superb plaster mouldings, architectural details, and scagliola enrich the interior of the King Edward in a classic style comparable to what is seen in classic old Ritz-Carlton Hotels in cities like Boston and Montreal

Toronto is a city of over 5 million people, and it has many excellent cultural and recreational amenities. It has however lacked the accommodation that prestige, five star hotels offer. I was excited to learn that a Ritz-Carlton Hotel was opening in Toronto. I have always been intrigued by the story of Cesar Ritz and the creation of his deluxe hotels and their superb restaurants and cuisine. In preparation for my upcoming article about the Ritz-Carlton in Toronto, I will briefly examine what sets a classic Ritz Hotel apart from other hotels.

Cesar Ritz had particular requirements and directives with regards to service, amenities, decor, hygiene, and cuisine. He started humbly, born in the mountains of Switzerland, and through hard work, luck, fortuitous circumstances, perseverance, superb taste, and a knack for seeing excellence in others to help him, created hotels that became synonymous with luxury. The classic Ritz Hotel, unadulterated by ever expanding modern chains, still exists in Paris, London, and Madrid. The Ritz style is present in great hotels in cities around the globe. It can be seen in the Four Seasons in Hamburg, the Plaza Athenee in Paris, the Villa D'Este in Italy, the St. Regis in New York, and many others illustrious and historic hotels.

What makes a classic Ritz Hotel? It must have the finest chef, and for it to be Ritz there should be at least a fleeting reference to classical French haute cuisine in the menu. During the Belle epoch/Edwardian period, it became socially acceptable for the upper classes, especially women, to eat out, and Ritz cuisine had an outstanding reputation for excellence.

The classic Ritz Hotel has a distinct, prescribed style. Cesar Ritz himself chose the Louis XVI style (sometimes used in transition from Louis XV; there were also accents of Directoire), and every detail of his first Ritz Hotels, both interior decor and exterior architecture, down to light switches, table accoutrements, was a circa 1910 interpretation of this elegant style. The simple, light lines of neo Louis XVI were a refreshing change from the heavy, dark, ponderous furniture of Second Empire, Louis Phillipe, and the Victorian style.

Ritz's rooms were among the very first to include en suite bathrooms as well as new technology such as telephones. There were transoms over doors of high ceilinged rooms to allow microbe inhibiting ventilation in a time when there was anxiety with regard to tuberculosis and other infectious diseases. Upholstery and furnishing fabrics and curtains were washable, and much simpler than those of the Second Empire and Victorian styles just preceding. Cesar Ritz chose the very best chefs, waiters, someliers and service people, often persuading them to leave other establishments where they had already proven themselves. Essentially, a Ritz Hotel was one that was of French decor, impeccably clean, and with faultless 5 star cuisine and service. The trademark of the hotel was a heraldic lion and a crown, with connotations of history and nobility.

Being in a classic Ritz Hotel is somewhat like being in an impeccably run palace. It is a bit of an escapist fantasy in the 21st century. That this style has endured and still exists and is admired and respected over a century later, and in spite of great changes in the world, is a testament to the genius of Cesar Ritz.

all photos, unless specified, by SwF

March Comes in Like a (Chanel) Lion

2011-03-10T19:42:00.007-05:00

vintage Chanel pins incorporating Chanel's Leo; the modelling is intentionally irregular, evoking the cast metal brooches of antiquity; photo SwF
Karl Lagerfeld at the end of the Fall/Winter 2010/2011 defile; photo courtesy of isaaclikes.com

this giant lion was the centre of the Fall/Winter 2010/2011 Chanel fashion show; it was modelled after one in Chanel's apartment; photo courtesy of isaaclikes.com

this wall relief of the head of a lion in the window of Toronto's Chanel boutique is a perfect specimen; he looks classical, is very symmetrical, and is brave with out being terrifying; I like the way the pupils are drilled and his rather baroque mane, photo SwF
the pin on the left is vintage Chanel, the one on the right is by Miriam Haskell, photo SwF

The month of March is upon us. I noted that the windows of Chanel boutiques have incorporated a large relief of lion's head. Lagerfeld is constantly mining the Chanel vocabulaire, and has used the lion motif before, as did Chanel before him. Chanel's sign was Leo and she was fond of the motif. The stone on her grave in Switzerland features five lion heads, a reference to her zodiac sign and her lucky number.

Many vintage pre-1970 Chanel couture buttons had lion's heads on them rather than a double C logo that is so popular today. Chanel wasn't fond of plastering the logo all over, and when she did, it was inconspicuous enough to be almost invisible. I believe she wanted quality, originality, and beauty to be self-evident. Looking at her superb vintage designs, inevitably it was.

The lion motif is creeping back into recent Chanel collections; a coveted quilted lambskin bag has a bold lion head motif on the closure and there are waiting lists for this $3,000 bag. Current fashion dictates that silver and pewter effects are surpassing Coco Chanel's classic gold, but I think a lion motif can only be in gold, and if a more modern look is desired, a soft or faded gold.

The current Chanel boutique window display appears to be the first time that the lion has been used as a play on themes during the windy month in which spring begins in the northern hemisphere..."In like a lion, out like a lamb."

Here comes Mr. Lion with a great big ROAR!

More cold winter, quick shut that door!

This little lamb thinks it would be nice,

If March was the end of the snow and ice.

Author Unknown (lost in the mists of childhood)

Canadian Chanels? Well, Montreal is our Paris...

2011-02-19T11:12:00.012-05:00

a Linton tweed suit by Auckie Sanft of Montreal features a band of the diagonal rib material used as a welt or piping, an innovation likely adapted from an original Chanel using the identical fabric

this was sold at the prestigious St. Regis Room (also known as "the Room") of the flagship Simpson's store (now owned by the Hudson's Bay Company) on Queen Street in Toronto
labels of the above suit

note the gilt buttons with double CC Chanel buttons, and the skillful way the material has been manipulated to make an excellent edging

In three decades of experience of working with and studying vintage clothing, I’ve seen a lot. The spectrum ranges from pristine Paris couture to decades old Levi’s denim, to rare and valuable leather motorcycle gang or WWII aviator jackets with cartoon like leather appliqued motifs. For the most part, the search, be it at prestige auctions, estate sales, antique shows, Salvation Army outlets, or in curbside garbage, is like finding a needle in a haystack. In spite of limited success and discovery I consider it a pleasurable treasure hunt for grownups.

When one is confronted with heaps, stalls, and racks of vintage clothing, the eye learns to quickly scan for colour, quality, rarity and the unique. Go looking for a specific item and it will never show up, but the unexpected often does. In this search anything is possible…like the colourful leather Wonder Woman boots. Where did they come from, and how were they used? Were they part of a very elaborate Hallowe’en costume, or were they an ironic accent in a circa 1970 hippy outfit?

Of course one is excited to find vintage Chanel, Hermes and Vuitton, but after looking at thousands and thousands of items, I’ve come to conclusion that there are plenty of other brands, or even anonymous pieces, that are as good as the most prestigious brands. For example, the leather goods of the American firm Ghurka or even pre-Chinese manufactured Coach sometimes surpass Hermes in quality, design, and durability, and are 1/10th the price. Some “Vuitton” items are lined with leather rather than fabric, and are better made than the originals.

One of the interesting vintage products that I see from time to time, are the fine clothes of Montreal designer Auckie Sanft. I am not sure exactly what years they were in production, but stylistically, the pieces I’ve encountered would date from 1960 to 1975. Their signature look was an interpretation of the classic Chanel tweed suit, and they did some very carefully selected copies of iconic French designer dresses, such as Yves Saint-Laurent pop art dresses from the period. But it is these Canadian “Chanel” suits and jackets that are remarkable. They are beautifully made and styled. They have gilt buttons with the famous Chanel interlocking double C logo. The tweeds are superb Linton (linings have the Linton tweed label), identical to those Coco Chanel herself selected. These tweeds are light, soft, and show an adept use of colour and texture; they are as visually satisfying as artisanal tapestry.

this late 1960s Auckie Sanft Linton tweed suit has an orange lining, and russet and tangerine yarns in the fabric

note the wear around the buttonhole, through the lining to the canvas inner construction; the tweed exterior is entirely unworn and looks like new

Auckie Sanft pieces were sold at the Simpson’s St. Regis Room (ironically they sold original Chanel later in the 1980s and early 1990s), Eaton’s, Holt Renfrew, Creed’s, and the WASP-y Ada Mackenzie shop in trendy Yorkville.

How does an Auckie Sanft suit differ from a vintage Chanel original? The linings were not silk, the jacket hems are not weighted with gilt chains, and they didn’t come with matching blouses. An original Chanel jacket usually uses 3 varying sizes of buttons; on a Sanft jacket the buttons are all of one size. They also lack the triangle inset of material under the arm where the sleeve is affixed to the body of the jacket (this gave ease of movement). Other than this they look, and can absolutely pass for Chanel. I’ve found Sanft Linton tweed jackets in which the linings are worn to shreds, but the tweed itself shows no wear whatsoever. Like Harris tweed and other fine fabrics, it is incredibly durable.

If ever you come across an Auckie Sanft “Chanel,” grab it. It looks as good as a new $10,000. Chanel jacket and it will be under $150.00, sometimes much less.

I’m not sure if there was a sort of licensing agreement with Chanel or use of a toile or pattern when Auckie Sanft produced their pieces and put gilt CC buttons, but whatever their arrangements were, if any, they are an excellent example of how a coveted example of Paris couture fashion was translated for the North American, specifically Canadian market. For this reason, I’m sure there are examples of Sanft “Chanels” in the textile and fashion collections of Canadian museums.

the Canadian made garment with union tag is now as rare as a horse and buggy; even some of the most prestigious manufacturers, such as Brooks Brothers and Coach, are now manufacturing in China

fine suede detailing on a pocket

this mid 1970s Auckie Sanft Chanel suit is noticeably more subdued in colour than the preceding earlier example; it was retailed at Eaton's of Canada, and the original price was $350.00; today's price would be about 10 times that, still a third of the price of an original Chanel

A Balenciaga Masterpiece in Toronto

2011-02-03T09:53:00.000-05:00

1960s magazine ad for Balenciaga perfume

I recently had the opportunity to examine a superb vintage Balenciaga day coat at the flagship of Toronto’s Holt Renfrew. Canada’s most prestigious clothing retailer, Holt Renfrew, was founded in 1837 in Quebec, and has held royal warrants, such as furrier to Queen Victoria. In the late 20th century, as furs were seen less frequently, and were viewed as politically problematic, the store became better known for supplying designer and other fine clothing and accessories for men and women. Among the brands carried are Christian Dior (a relationship starting in the late 1940s when Dior himself visited the store and Toronto social scene), Chanel, Gucci, Saint-Laurent, Moschino, Oscar de la Renta, Dolce & Gabbana, Ralph Lauren, Louis Vuitton, and Roger Vivier. In keeping with the times, and the popularity of vintage clothing, they have offered a diminutive, exclusive collection of pieces by vintage dealer Linda Latner of Vintage Couture. The collection consists of a single rack, but is of such quality and so carefully selected, or curated, that it is always a pleasure to view. This is the closest one can physically get to museum quality vintage couture.

Some months ago, I was particularly intrigued by this superb, mid 1960s Balenciaga couture coat offered at Holt's. Interestingly, it had been first retailed by Holt Renfrew, the same store selling it now, some 45 years ago. Apart from this fascinating historic detail, the coat in itself is an exemplary piece of Balenciaga, the type that connoisseurs and curators of fashion admire. Typically, in the 40s, 50s, and 60s, a few select pieces of couture were brought in, and promoted by top retailers such as Bergdorf's, Saks, and Neiman-Marcus in the United States, Harrods in London, and Eaton's, Simpson's, Creed's, and Holt Renfrew in Canada. They were often featured in illustrated, full page newspaper ads, and would create an exclusive buzz while demonstrating a trend, colour, or theme for the season that was available in the store's less expensive lines. Sometimes, a couture example was reproduced as ready-to-wear, at a much lower price, but with a certain cachet of having the design reproduced or adapted from an exclusive Paris model.

In the mid 1960s, Balenciaga clothes reached an amazing level of skill and design evolution. The clothes were simple and wearable, but very original. Balenciaga believed in simplicity as a form of dignity. Many consider the clothes almost monastic in feeling, reminiscent of liturgical robes, ecclesiastical garments, and religious habits. Balenciaga was partial to heavy, costly fabrics that had body and structure. His designs were simply cut so as to show the quality and beauty of the fabric.

For aficionados who appreciate cut and couture, this day coat deserves closer examination. It is boxy and cut away from the body. It is pieced in large horizontal panels, giving a slightly segmented feeling, especially when it is worn. It has an ease and generous feel that was the antitheses of the corseted, cantilevered, padded and shaped 1950s Christian Dior ideal a decade earlier. The narrowest horizontal panel, about 4” wide, is at waist level (the bottom edge is also the opening to the left and right slash pockets), and becomes a loose, drape-y half belt at the back that holds in the fabric folds in soft box pleats. In a medium weight wool with an almost felt like surface, and in a quiet cream, this is luxurious Paris couture in the most discreet manner. Considering the great expense of Paris couture, a coat like this which sits away from the body, and would actually fit a range of sizes and weight fluctuations, might be considered a better investment than a fitted, limited use, gala gown.

In considering such a design, one should imagine it in different fabrics and colours, just as Wallis Simpson did with her favorite couture models. She is known to have pleasantly surprised Dior himself by reordering one of his own models in an entirely different colour and material. This would be a bewitching evening coat in black or raspberry heavy matte satin. It could be a beautiful spring coat in hot pink mohair. A Donegal or Linton tweed example would be wonderful in fall. Black wool serge or gaberdine would make it the ultimate all purpose coat.

Looking at a really fine couture example such as this, it is understandable that the elite of the 1950s and 1960s, women like Mona Bismarck and Bunny Mellon, ordered several versions for various residences, and in different colours for variety. One is struck by the balance, proportion, and taste of such a design, and yet it has a retiring aspect. Balenciaga clothes are as much about the wearer as they are about the garment, and they have a sense of modesty that is ennobling.

One cannot help but wonder why a stylist or design studio didn't acquire this piece. Top design houses are known to take vintage pieces as "inspiration." It certainly wouldn't have been out of place in a well edited Prada, Jil Sander, or Marc Jacobs collection. With a price similar to a new Chanel jacket, I don't think that such a rare and exceptional piece is unreasonable, but then stylists of the world don't usually think of Toronto as a destination for superb vintage couture.

I agree with fashion historians who have assessed Balenciaga as the greatest couturier, and I’ve seen many incredible pieces in museums, private collections, and books, but this has to be one of my favourites. Because it is such a superb example, and is a document of the way Paris couture was disseminated to far away, sparsely populated Canada, I would loved to have seen it go to the fashion collection of the ROM, Seneca College, or the Musée des beaux-arts de Montréal. But least I have photos and got to hold it in my hands, and in a way, that was better than viewing it behind glass and in obligatory archival low light conditions.

Many thanks to Lynda Latner for generously sharing the images, and for sleuthing out such a masterpiece.

http://www.vintagecouture.com/

Images courtesy of Lynda Latner of Vintage Couture

mid 1960s cream wool Balenciaga coat

detail of back of Balenciaga coat; note the elegant yet casual draping and the way the back panel is one with the sleeves (cut Raglan style at the front)

these wonderful large buttons, so simple and beautifully proportioned for the coat design, remind me of French macarons from Ladurée

the labels of Balenciaga and Holt Renfrew that connect the old and new world with couture

Happy New Year!

2010-12-30T20:54:00.005-05:00

"The Classic Ritz Carlton" by Andris Leimanis, Montreal, Quebec

May the sparkle and cheer of New Year's Eve remain with you for the next 12 months.

Happy New Year!

The Merry Month of Mistletoe

2010-12-23T13:58:00.010-05:00

French photo postcard, "MARCHAND DE GUI DE BRETAGNE", Mistletoe Vendor from Brittany, 1908; note the distinctive regional costume with double-breasted, brass buttoned coat, voluminous breeches, and wooden shoes

For years I've collected vintage Christmas items; cards, vinyl records, decorations, table linens, magazines, etcetera. I noticed that in pieces dating from the late 19th century and early 20th century, the mistletoe (Viscum album) motif was very much in fashion, in fact much more than the poinsettia or Christmas tree that we see on Christmas cards today. The mistletoe motif was also very popular to decorate items in general day to day use, not just for Christmas. The majority of these mistletoe items are in the Art Nouveau/ Jugenstil style that coincided in England and British Empire with the Edwardian epoch. Nowadays, few people know what mistletoe is, and the plant seems all but forgotten.

Mistletoe is a mysterious plant. It is a parasitic evergreen plant that grows on the limbs of trees and has attractive pearl-like, luminous berries. It was sacred to the Druids, and had to be cut with great ceremony wearing white robes, at a particular time, and with a special golden sickle. Because it was never to touch the ground, the harvest area was covered with a cloth while mistletoe was cut. The Catholic Church banned the use of mistletoe because of Pagan associations. It continued to be used secretly because it was believed to be so powerful. It was believed to protect from demons, witches, and spirits, and a number of illnesses including fevers, tremors, and fits. Hanging it in the home was believed to bring happiness and peace, and it was often left up throughout the year until the following Christmas.

In the 19th century, the popular custom of kissing under the mistletoe became established. Men were entitled to steal a kiss each time a woman was under the mistletoe. For each kiss, a berry had to be removed from the spray. The ritual ceased when all berries were gone. This charming, and somewhat suggestive custom captured popular imagination, and references to it still persist in old Christmas illustrations, songs, stories, and poems.

Next time you see mistletoe, freshly cut, growing on the branch of an oak, or in the decorative arts, consider the historic, botanic, cultural, and festive aspects of this exquisite, unusual plant.

Merry Christmas to all.

English matte glaze ironstone pitcher with raised mistletoe motif, circa 1895

detail of above pitcher

Art Nouveau/ Edwardian silver bar style pin with mistletoe motif, circa 1905

Edwardian bone china plate in a Christmas pattern, by Adderley of England, circa 1910; note the raised enamel berries of the holly and mistletoe

vintage Swiss linen handkerchief with mistletoe and holly motifs, circa 1965; this item was given as a Christmas gift/ promtional item by a Toronto hotel

mistletoe motif on engraved cotton stationary note cards by Crane's, 2005

circa 1905 German lithograph postcard with mistletoe motif; outside border is metallic gold

detail of mistletoe from the above card

detail showing mistletoe, from a German chromolithography postcard, circa 1905

vintage screen printed linens in the very rare "gui" (mistletoe) pattern by the French house of D. Porthault, second half of the 20th century

circa 1905 French silver Art Nouveau pin with mistletoe motif

Christmas in the Big City, Toronto

2010-12-22T12:43:00.032-05:00

the facade of Tiffany's, Toronto, with the entranced swathed in evergreen boughs

Christmas tree at the 1929 Fairmont Royal York Hotel, Toronto

lobby arrangement of massed red amaryllis, red blown glass, and candles in the Four Seasons Hotel in Toronto's elegant Yorkville

lobby tree of Toronto's Beaux Arts masterpiece, Le Méridien King Edward Hotel

revellers helping to create a festive atmosphere in Kensington Market on the December 21 winter solstice activities

the public skating rink at North York Centre, Toronto

another view of the sunken North York Centre rink, Toronto

a view of Willowdale Park in north Toronto; such parks dot the city and there are many to explore and enjoy

a Christmas window of the old Hudson's Bay store, with blankets and canoe sporting the iconic stripes of the historic wool blankets that were used for trading

the historic 1851 Gibson House in north Toronto is now surrounded by tall office and condominium buildings; it is open as a museum, and captures the essence of mid 19th century rural life

New York cabs, a metaphor for unlimited opportunities and experiences, are yellow; Toronto's orange and aqua Beck taxis are everywhere, and are the Toronto versions of the checkered taxis

malls and atria throughout the city are refuges from the bitter winter winds, and are decorated lavishly, in big city Christmas style

a wintry city sidewalk in the stylish Yorkville district of Toronto

an animated Christmas window at the Hudson's Bay Company flagship store on Queen Street; the scene here is of course, last minute work at Santa's shop

Tafelmusik's Messiah at Trinity St. Paul's United Church is a favourite among Torontonians

nothing gets one in the mood for the holidays like the superb St. Michael's Boys Choir of Toronto

St. Basil's Church on the University of Toronto campus, shown here at Christmas

St. Basil's Church on the University of Toronto campus, shown here during Advent

animated Christmas windows at the Hudson's Bay Company flagship store on Queen Street, note the classic little Hudson's Bay candy stripe wool coats

another Hudson's Bay Company animated window depicting Santa's return to the North Pole after delivering gifts around the globe

the elegant old Manulife office building with pristine, manicured gardens

Christmas in the big city, in this case Toronto, brings numerous anticipated delights. The classic 1950 holiday song, “Silver Bells” composed by Ray Evans and Jay Livingston captures the distinctive ambiance of an urban Christmas.

Without direct religious references (“bells” of course suggests church bells ringing on holidays and before masses and religious services), it is a modern Christmas song, evoking the urban setting during the holiday rush.

SILVER BELLS by J. Livingston and Ray Evans

City sidewalks, busy sidewalks,

Dressed in Holiday style.

In the air there's a feeling of Christmas.

Children laughing, people passing,

Meeting smile after smile,

And on every street corner you hear,

Silver bells, silver bells.

It's Christmas time in the city…

Coming from a very small community in remote northern Ontario, I have a special appreciation for Christmas in the Greater Toronto Area which has a population close to 6 million, and the distinct atmosphere that is so very different from the winter holiday as celebrated in the country or small towns.

Here is a list of the things I most enjoy in Toronto during Advent and Christmastide:

1) The beautiful, historic churches, chapels, and cathedrals. As we move to an increasingly secular, multi-faith society, many churches are being sold off as their congregations dwindle, along with funds to maintain them. In the city, we are lucky enough to have many wonderful old churches to visit. In the crowded, modern cities, they are quiet places of refuge. I have many favourites, including the various chapels at the University of Toronto, St. John's York Mills, St. Michael’s Cathedral, St. Paul’s Basilica, and the modernest jewel, St. Joseph's Morrow Park. The one I go to most and feel most at home at is 150 year old St. Basil’s on the University of Toronto Campus. It is like stepping back in time, and it is just minutes away from the busy shopping district of Bay and Bloor Streets. The solitude and reflective atmosphere have helped me at the end of many exhausting, stressful days.

2) The heritage homes of the city, many now museums open to the public, that are so lovingly cared for and decorated for Christmas. It is fascinating to see how Christmases long ago were celebrated. My favourite is the classic red brick Georgian Judge Campbell House at the corner of Queen and University.

3) The St. Michael’s Boys Choir Concert at Massey Hall. I first went to a performance of this superb choir over 30 years ago, and have loved them ever since. It is a venerable Toronto tradition to see the boys in their blazers, walk from their school a block south of Massey Hall. The program changes from year to year, so it has a freshness that some classic holiday performances may lack. This year, the junior choir did the most charming musical rendition of “A Visit From St. Nicholas” (The Night Before Christmas). I cannot recommend this concert highly enough.

4) The Good Shepherd Refuge. In the midst of the bustle and glamour of city life there is despair and poverty. The Good Shepherd Refuge on Queen St. East near Parliament St., will accept food donations 24 hours a day. There is a particular need for canned vegetables and fruits, tea and coffee, sugar, and rice. Many people, including myself, prefer this kind of donation because you know that your gift, and all of it, is going directly to those in need, rather than to administration.

http://www.goodshepherd.ca/

5) The Christmas windows at Holt Renfrew on Bloor St. This venerable Canadian luxury store has been a part of Christmas in Canada for more than 170 years. The chic windows are as every bit as enticing as anything one would see in New York or Paris.

6) Big city Parks. Toronto is very lucky to have numerous parks with skating rinks, walking trails, and opportunities to view wildlife and birds. It is a city of treed ravines, and many of them are parks with gorgeous trails to walk. My favourites are High Park and the trails of the East Don. It is easy to imagine one is in a forest, or even Algonquin Park, hours away from the city.

7) The Tafelmusik Messiah. This is now a much loved Toronto tradition. To attend a performance in the historic Trinity St. Paul’s Church on Bloor Street West is a highlight of the Christmas season, and a good reminder in the scriptural references and religious aspect of the holiday.

8) The gardens of the old Manulife Building on Bloor Street east of Yonge (north side). I always admire this stately, elegant neoclassical building of grey granite. It has superb lawns and gardens surrounded by tall iron fences, and every Christmas a very tall pair of matched fir trees is placed on the lawn and decorated with simple, white lights. Exquisite.

9) Kensington Market. Every December 21st at dusk, Kensington Market hosts a winter solstice festival. The carnival atmosphere is great fun. Participants carry candle lanterns, and musical and percussion instruments. Kensington Market, over 100 years old, is also the best place to get the outstanding quality holiday pastries, meats, exotic fruits and vegetables. And of course it is the city’s premier location for vintage clothing. You can slip a vintage Champagne mink, in pristine condition, under the tree for your baby, and it shouldn’t set you back more than $200., often much less for a retro stole.

10) The Hudson Bay Company. In the world of retail, few can match the 300 year old history of this company that is an intrinsic part of Canadian history and life. And of course this is the time that many Canadian household take out their HBC blanket for winter, the same ones that the traders used centuries ago as currency when “buying” fur pelts from the Indians and trappers. The candy stripe blanket is one of the 10 most famous icons of Canadian design, and now adorns coats, scarves, bags, and even canoes. The outstanding animated windows of the flagship store on Queen St. at Yonge, are admired by all.

11) The terrific flower shops. For Canadians, flowers in the middle of cold winter will always be a luxury. Orchids and poinsettias are now ubiquitous and available at the supermarket, but it is always a special treat to go into one of the excellent flower shops and get pots of narcissus for myself and for friends. For me, they are fragrant Christmas stars. With the crystalline structure of the creamy white flower petals, they are reminders of the star that lead shepherds and kings to the Infant Jesus in Bethlehem.

12) Big City Hotels. For a very urban experience, a great hotel in holiday décor is delightful. I like the Four Seasons in Yorkville, The 1929 Royal York, and the beaux-arts King Edward Hotel. Stop in for a drink, lunch, or brunch, and enjoy a sophisticated urban experience. And those Christmas holiday floral arrangements in the lobbies, such creativity and beauty….

13) Skating. Who has time to drive on icy roads to the nearest half decent ski hill? Not me. I opt for the easy way out and head for the local outdoor rinks. Our classic big city rink is in Nathan Phillips Square (City Hall) but I much prefer the city rink at the North York City Centre. It is strictly for leisure skating (no hockey sticks to distract or trip anyone), and the sunken situation helps it avoid being windswept on colder days. When I skated there this week, they were playing vintage Christmas music by Bing, Ella, Frank, and Nat. Terrific!

14) The Nutcracker. Toronto’s superb production by the National Ballet, December 11, 2010 - January 2, 2011, has Russian inspiration, and is a joy to behold. Other productions throughout the city are also worthwhile checking out. Russian Christmas; how sophisticated and romantic.

15) Bloor West Village. This quaint tree lined district between Jane and Runnymede Streets has a distinct European flavour with pastry shops, cheese mongers, butchers, and numerous excellent green grocers and flower/plant shops. Many shops are east European, and it is worthwhile heading to west Toronto to visit and feel like you are in Europe.

16) Bloor-Bay Street/ Yorkville shopping district. This area, the so called "Mink Mile," has just finished an extensive and very complex improvement project. The sidewalks are now surfaced with black granite, and built in planters, also of the same stone, are filled with evergreens in winter, and lavish annual flowers in spring and summer. The most elegant shops, including Birks, Cartier, Chanel, Ferragamo, Gucci, Guerlain, Harry Rosen, Hermes, Holt Renfrew, and Tiffany can be found here. At Christmas, 20 ft. fir trees covered with thousands of twinkling lights make the street as picturesque as one imagines in the song, "Silver Bells."

ALL PHOTOS, SQUARE WITH FLAIR

BALENCIAGA in MANHATTAN, BALENCIAGA in the NEWS

2010-12-03T19:12:00.003-05:00

the Queen Sofia Institute, 684 Park Avenue, New York; photo Queen Sofía Spanish Institute

Balenciaga has been very much in the news lately, and I'm not referring to the innovative fashions of Nicolas Ghesquière. Rather, there have been excellent museum exhibitions of the work of the master himself, Cristóbal Balenciaga (1895-1972).

Four years ago there was an outstanding Balenciaga at the musée des Arts décoratifs at the Louvre, and last summer there was a charming exhibition, curated by Hubert de Givenchy, at the Chateau de Haroué, beautifully written about by Diane Dorrans Saeks in her wonderful blog, the Style Saloniste. In interviews over the past couple decades, Hubert de Givenchy has repeatedly acknowledged Balenciaga as his master, and is ceaseless in his admiration. Coming from a person of such peerless taste, this is the ultimate accolade.

ww.thestylesaloniste.com/2010/07/la-vie-de-chateau-elegance-and.html

Currently, there is a wonderful exhibition at the Queen Sofía Spanish Institute in New York, just inaugurated by Queen Sofía of Spain herself. The exhibition is curated by Vogue editor Hamish Bowles, a collector of vintage Balenciaga couture. The show was conceived by Oscar de la Renta, who worked at Eisa of Madrid, one of Balenciaga's outlets in Spain run by his sister. The show runs from November 19, 2010 until February 19, 2011.

What can be said about Balenciaga? He has been written about extensively, and yet he maintains great mystique and prestige. One can understand him better if he is compared with his highly esteemed contemporaries. His work is bolder and much more innovative than the designs of Chanel. It often has a distinctly Spanish look, with Flamenco ruffles, strong contrasts of colour with black, or toreador-like embroideries. But the inspiration is never literal or costume-y, a problem often seen with ethnic inspired looks of Yves Saint-Laurent. Balenciaga pieces often have a quasi-religious feeling (he attended mass regularly), inspired by clerical garments and the plain, but heavy and voluminous robes of saints and angels in oil paintings of centuries ago, notably the works of Francisco de Zurbarán.

circa 1948 evening coat of heavy black silk ottoman, collection of Hamish Bowles; photo SwF

vintage photo of priest in a cassock; photo, the Aesthetic Traditionalist

Compared with Dior, the works are less precious and bourgeois. Compared with André Courrèges or Cardin of the period, Balenciaga is not futuristic, and therefore more classic. Balenciaga's work was progressive and evolving; his very last designs were pure, and appeared simple, but were never minimalist. They strike the perfect balance of sobriety and innovation, creativity, and conservatism. His designs defy the dated aspect of fashion, so that they are eternally beautiful.

For the clientele of couture and fashion, and for experts who have worked in the garment industry, there is an irresistible attraction back to Balenciaga. In his lifetime, the Balenciaga name never appeared on inferior or mass produced products. It never seemed to require advertising or self promotion, because it existed above such mundane matters as financial concerns. The atmosphere of his couture salon on Avenue George V in Paris has been described as "hushed" and "monastic." His taste was so rarefied, that in 1968 he retired; the youth quake of the 1960s, with fast fashion, vulgar exhibitionism, and inferior quality, offended him, and he was undoubtedly weary from his relentless perfectionism and refusal to dilute his product, or veer from his highly personal style.

For the most elegant women of the world such as Pauline de Rothschild and Mona Bismarck, his farewell was a tragedy. It has been said that when wearing a Balenciaga, no other woman in the room existed. I supposed the wearer was conferred with a certain nobility, impeccable elegance, and perfect taste. If you cannot make it to the New York Balenciaga exhibition, take a look at these meticulously crafted designs, and consider the thought, repeated editing and revisions, often within millimetres, that went into these deceptively simple clothes.

from left to right: Hamish Bowles (Curator), Teresa Valente and husband Ambassador Jorge Dezcallar, Her Majesty Queen Sofía of Spain, Oscar de la Renta (Chairman, Queen Sofía Spanish Institute), Inmaculada de Habsburgo (President & CEO, Queen Sofía Spanish Institute) at the opening of the Balenciaga Exhibition, Wednesday, November 17, 2010; photograph by Mary Hillard

flamenco inspired looks in bold black or hot colours; frills are substantial and more bold than delicate; photograph by Kenny Komer

toreador inspiration, exquisite referencing of silhouette and proportion, without lapsing into costume; photograph by Kenny Komer

the solemnity and dignity of uncompromising Balenciaga's black; the look is wearable for any woman of any age or stature; photograph by Kenny Komer

neither slim nor excessively voluminous, late (1960s) Balenciaga defies being outmoded; photograph by Kenny Komer

Balenciaga's unusual colour combinations didn't follow those of other trends of the period; clear silhouttes, heavy embroideries, and richly draped silks are typical of his work; photograph by Kenny Komer

Balenciaga used the very finest fabrics, and was fond of material with body and structure; note his graceful signature hemlines that lower at the back; photograph by Kenny Komer

Curator Hamish Bowles and Chairman Oscar de la Renta lead Her Majesty Queen Sofía of Spain through the exhibition galleries, Wednesday, November 17, 2010; photograph by Mary Hillard

Three Centuries of Meissen White Gold, 1710-2010

2010-11-03T21:50:00.008-04:00

The Gardiner Museum of Ceramics at Bloor & Avenue Road in Toronto; photo SwF

Snowball vase with birds, model probably by Johann Joachim Kaendler, Meissen, 1741, Lustheim Palace Porcelain collection, Bavaria; every detail and individual rosette is painstakingly applied while moist and pliable, later hand painted, and then the piece is fired

the above piece is a special, highly limited edition in the "snowball" style, made almost 300 years after the early 18th century piece above; it is priced at €45,000.00; photo Meissen Porcelain

This year marks the 300th anniversary of the founding of the Meissen Porcelain Manufactory in the historic town of Meissen, located in Saxony, Germany. Prior to 1710, the only fine porcelain in Europe was imported from China and Japan. In Europe, there have been special exhibitions marking this amazing anniversary, but in North America, there has been little if any recognition of this culturally significant discovery. The blossoming of a highly specialized craft, the manufacture of fine porcelain art objects, table wares, and utilitarian things, has influenced our lives in the way we eat at every meal, and through the objects we use in our home, such as porcelain sinks or wall tiles. Porcelain is highly suitable for objects that are both functional, decorative, or both.

Fine, translucent porcelain fired at very temperatures had been available since the Han Dynasty (approximately 100-200 B.C.). As Europe began to trade with Asia, porcelain, along with other luxuries like spices and silks, was greatly admired and valued. Because of the distance and great difficulty of importing porcelain from China, it was extremely valuable, reserved only for royalty and the rich, and called "White Gold."

From Renaissance times, Europe tried, unsuccessfully to come up with a formula to approximate fine oriental porcelain. In the early 18th century, there was success at Meissen in Germany, and the production began under the patronage of Augustus the Strong, Elector of Saxony and King of Poland. In the ensuing decades, it became a mark of great prestige for the royal houses of Europe to have their own porcelain factories, and some of these that began with royal patronage such as Berlin (KPM), Meissen, Royal Copenhagen, and Nymphenburg, have existed since the 18th century. It can be argued that western porcelain reached the finest period of creativity and excellence in the 1700s. The arts of 18th century Europe cannot be discussed or understood without reference to the mania that society embraced for this refined product, and the story is linked to changing fashions and tastes for tea, coffee, and chocolate which were also imported at great cost. To drink oriental tea from a fine porcelain cup was to be educated, au courrant, and successful.

The Meissen style was widely copied by other factories, and a style derivative of Meissen exists to this day in the prestige porcelains of Nymphenburg, Royal Copenhagen, Herend, Richard Ginori, and of course Meissen. The Meissen influence was also continued in lines by great British manufactories, but sadly the great majority which were located in Staffordshire, have closed in the last decade, after 250 years of continuous production.

The Meissen manufactory has gone through various periods of difficulty, notably during World War II and after, and the factory was in the east zone until the fall of the Berlin Wall in 1990. In spite of these difficulties, the firm was regarded as culturally and historically significant, and received the financial support of the government. I had the pleasure of visiting the factory and museum of Meissen in 2008, and found it beautifully maintained. The renovated, restored, and expanded exhibition halls of the museum, and the extensive showrooms for new products were bustling with delighted visitors from around the world.

Meissen Porcelain of Germany continues to produce pieces in the manner of the 18th century and takes great pride in maintaining highly specialized skills such as modelling, painting, and gilding, in every way as superb as in the 18th century. Some of the most detailed and elaborate pieces are not for the faint of heart. An historically accurate limited edition of the snowball flower teapot, completely covered with dimensional white blossoms, is priced at €45,000.00. While maintaining the skills of the 18th century with absolute fidelity, they also produce new designs that are extremely original, innovative, and unusual. After 300 years in production, their archives hold documents and artifacts of priceless historical and cultural value, making it the most esteemed and important manufacturer or porcelain in the world.

Here in Toronto, Canada, The Gardiner Museum, on Queen's Park directly across from the Royal Ontario Museum, has an exceptional collection of international repute, of early and later 18th century Meissen porcelain. Representative pieces show the development of the porcelain as different formulae were tried, until it was perfected and works of great beauty and technical expertise were achieved.

For those who wish to see more works of Meissen, I highly recommend visiting the porcelain factory and museum in Meissen, and the major museums devoted to Meissen in nearby Dresden, Germany.

http://www.gardinermuseum.on.ca/

http://www.meissen.com/de/museum/einkaufsmoeglichkeiten/meissen-boutique

http://www.magazine-deutschland.de/en/business/companiesindustries/article/article/300-jahre-meissen.html

For a fascinating account of how this historically and culturally important discovery evolved, I highly recommend "THE ARCANUM, THE EXTRAORDINARY TRUE STORY," by Janet Gleeson, Warner Books, 1998.

a Meissen yellow-ground chinoiserie single-handled beaker and saucer , c.1735-1740 G83.1.591a-b, The Gardiner Museum of Toronto, Gift of George and Helen Gardiner; the yellow ground colour of this cup and saucer is much sought after

pair of beaker-form vases , Manufacturer: Meissen Porcelain Manufactory, Date Label: c.1735-1740 , G83.1.681.1 -2 , The Gardiner Museum of Toronto, Gift of George and Helen Gardiner; the "sea green" ground colour of these vases makes them rare and desirable

confectionery dish from the "Swan Service" , Meissen Porcelain Manufactory, c.1737-1741 G83.1.642 , The Gardiner Museum of Toronto, Gift of George and Helen Gardiner

cup and saucer from the "Swan Service" Meissen Porcelain Manufactory, c.1737-1741, G83.1.644a-b, The Gardiner Museum of Toronto, Gift of George and Helen Gardiner ; not evident in the photo is the highly detailed relief of the pattern, depicting aquatic elements and wave-like ripples

Dolphin Saltcellar for the "Swan Service," Meissen, c.1737-1741 , G83.1.641 , The Gardiner Museum of Toronto, Gift of George and Helen Gardiner ; this dinner service is considered one of the most fanciful and extravagent ever created

figure of a pug-dog and a pug-dog with pup, Meissen Porcelain Manufactory, c.1745, G83.1.668.1 - .2, The Gardiner Museum of Toronto, Gift of George and Helen Gardiner; in 18th century Europe, the pug dog was a popular pet among the royal and aristocratic classes; in the 20th century the Duchess of Windsor had a collection of Meissen pug dog figurines

the Greeting Harlequin, Meissen c.1740 , G83.1.0908 , The Gardiner Museum of Toronto, Gift of George and Helen Gardiner; the Commedia dell'arte was popular among the upper classes

Royal hunting clock for Augustus III , Meissen, c.1732-1733, G87.1.1 , The Gardiner Museum of Toronto,Gift of George and Helen Gardiner; not evident in this photo is the great attention to fine detail in figures, details, and decorative painting on a hunt theme

cased tea and coffee service with harbour scenes, approximately 68 pieces, (G83.1.616.1)-(G83.1.616.53), Meissen Porcelain Manufactory, c.1740-1745 G83.1.616.1-31 , The Gardiner Museum of Toronto, Gift of George and Helen Gardiner; a fully fitted case of porcelain suitable for serving tea, chocolate, or coffee would have been a costly and very prestige product

Meissen Dish with harbour scene, c.1721-1722, hard paste porcelain, underglaze cobalt blue and iron oxide, G83.1.657 , The Gardiner Museum of Toronto, Gift of George and Helen Gardiner; this piece of porcelain recreates the sought after blue and white Asian porcelain that was imported at great cost

a Böttger red stoneware covered jar, made at Meissen circa 1704, The Gardiner Museum of Toronto, Gift of George and Helen Gardiner; the formula for this type of stoneware was discovered in the quest for fine white porcelain; the hardness of the ware allowed it to be cut, engraved and polished like stone

late 18th Century coffee or tea pot with the desirable Meissen Yellow" ground and strewn Saxon flowers; note the simplicity of the form which allows for the brilliance of colour and hand painting to be fully appreciated; image courtesy of Hide and Go Keep Antiques, Durham, New Hampshire

Meissen saucer, 19th century, after an 18th century original, turquoise ground with quatrefoil cartouche painted with a courtly musician couple in the style of Watteau, collection of SwF; in this fine example of Meissen painting, the details are microscopic

Square with Flair gratefully acknowledges the help and assistance of the Gardiner Museum, Toronto, Canada.

Skull and Crossbones; the macabre fashion shows no sign of dying

2010-10-26T18:29:00.010-04:00

children's hoodie by "725 ORIGINALS"; photo SwF

☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠

Give the blog a bone. As Halloween approaches, we are exposed to images of death and spirits on decorations and in illustrations. In the past, skeletons and skulls were traditional motifs of this holiday, along with owls, pumpkins, ghosts, and witches, but the skull motif seems less evocative of Halloween because we see it throughout the year.

In my book, wearing a skull and crossbones is associated with negative things such as 1) convicts, toothless pirates, and rebel outlaw biker gangs and, by association, organized crime and drugs, 2) nuclear and hazardous chemical waste, 3) a motif on tombstones and memorial monuments from the 15th to 18th century, 4) toxic household products such as drain cleaner or chlorine bleach, 5) Nazi SS regalia and medals. Skeleton chic seems to have arisen simultaneously with the current, insatiable taste for tattoos. Why, when there is so much violence, darkness and crime in the media and in entertainment such as video games and music, is it necessary to add a negative aspect to one’s daily presentation of self?

detail of a label of Recordsol Paint Thinner Poison showing skull and crossbones symbol, early 1990s; photo SwF

Earlier this year, I viewed television news coverage of people protesting against a Whitby, Ontario waste incineration facility. One person carried a large sign with the skull and crossbones symbol on it. In western culture, one becomes aware of this symbol from a very early age. Children see it associated with villains and evil as is seen in many Disney films and it has become shorthand for death or danger. The message that the skull on the protesters sign conveys is, “Incineration equals death," or, "Beware of toxic effects on our health.”

In a recent Canadian criminal trial, a father was convicted of murdering his young daughter. Entering the courtroom, he wore a grey sweat shirt with a very large skull motif on the chest. Amazing that none of the journalists covering the case commented on the irony of it. Certainly his solicitor wasn't dispensing any sartorial suggestions. Is it that the "numb skull" is now so ubiquitous we barely notice it, let alone make the association with toxic materials, death, or criminals?

The motif was first appropriated by Goths and then high stylers like Alexander McQueen. Subsequently it filtered into mainstream fashion, and went from being predominantly on male clothing and moving to young women's wear. It is now available from street market vendors as the least expensive, mass produced, Asian manufactured clothing. The last group to take up the bone head was the young; it now emblazons the clothes of toddlers to teens. Symbols of death, decadence and toxic dangers being worn by children is a disturbing trend. I don’t understand what is appealing about youth, our hope for tomorrow, wearing the skull and cross bone motif. Surely our future isn't that bleak.

In the 1960s and 1970s, young people wore daisies, yellow happy faces, and peace signs. Nowadays many of them wear tattoos, piercings, and skulls. What does this say about our culture? What does it say about parents who allow impressionable children to wear these subversive motifs? I suppose that in the development of the adolescent mind, I can understand the proclamation of independent thinking and a wish to assert identity, and independence; thus we see the edgy, rebellious trend of youth wearing skulls, smoking, and listening to antisocial music with profanities. But after half a decade, I cannot see that it still has the desired anti-establishment effect.

For the past few years, the skull and cross bone motif has been seen in various forms in fashion. When I was in Paris two years ago, I visited the Dior Joaillarie Boutiques on Place Vendôme and on Avenue Montaigne. I was surprised, actually I was disappointed, to see that talented Dior (formerly Chanel) jewellery designer Victoire de Castellane has included pieces with jeweled skulls in the Dior precious jewelry collection. Considering that Dior is associated with refinement, quality, and taste, and is the paragon of Paris couture, I was perplexed by this inclusion. If it was intended to shock and surprise, I don't think that any fashion feathers were ruffled, although for me it would certainly detract from the grace and prestige of Dior.

“Tête de mort” pendants/charms(☠), Dior Joaillerie design, 2004, by Victoire de Castellane detail from a child's hoodie by "725 ORIGINALS", photo SwF

As the motif becomes more and more familiar, and loses shock value, I wonder if it will take on a different, less sinister aspect, somewhat like the skull and skeletons one sees everywhere in the Mexican Dia de los Muertos celebrations

CIAO ROBERTA DI CAMERINO 1920-2010; the Loss of an Italian Fashion Legend

2010-10-17T20:22:00.028-04:00

Roberta di Camerino, circa 1970, wearing a dress of her own design with a printed, trompe l'oeil 5-buckle belt; image courtesy of irenebrination.typepad.com

Roberta (Giuliana) di Camerino in 2005, note the cardigan with panels of silk twill printed with trompe l'oeil effects; photo, legacy.com

Fashion today is so democratic. The most prestige houses often have entry level goods such as fragrance, scarves, key chains, or limited edition diffusion lines. Greater availability raises awareness of a brand and brings in a younger customer base, but in the 1960s and before, high fashion had an entirely different demographic, and it was much more exclusive. Unlike today, Vuitton and Gucci boutiques were not in every major city around the globe. While more customers have access to good design and to quality, there is a certain loss of mystique when goods are readily available both in person or through Internet purchase.

One of the very creative designers who never really became a household name, but held a special place in the hearts of the fashion cognoscenti, was Roberta (Giuliana) di Camerino(née Coen) of Venice. While recently researching vintage di Camerino pieces I discovered, I reread her fascinating biographical details but was saddened to learn that this exceptional designer died in spring of this year. She passed away exactly 3 months after Alexander McQueen, but her death was not reported or discussed in many fashion or news forums. The two designers couldn’t have been further apart in design philosophy. McQueen was a still young rebel, and his most documented and memorable clothes were conceptual art to be observed. They were dark, often sinister, and difficult to wear. Camerino clothes and accessories, while unique and creative, were eminently wearable and light hearted. As a Jew, she found it unecessary to create anything sombre after living through the fear, darkness, and pain of the war.

Her fashion house was founded in 1945, and still exists in Venice. Imagine a designer working successfully in a signature style for 70 years. That has to be a record of some sort in the world of fashion, where designers fall quickly out of fashion. She was best known for her superb velvet handbags, and for interesting trompe l’oeil effects that appeared as pleats, buttons, buckles, saddle stitching, pockets, and other details, but were in fact printed on the textiles of accessories and clothing. Her work made use of centuries old Venetian crafts, artisans, and traditions. The pigments, textiles and hardware were of the finest quality done in ancient, historic workshops. The fittings were made by the same artisans who made fine bronze hardware and mounts for Venetian gondolas. The artisanal, two centuries old textile firm of Bevilacqua, wove Camerino's velvets on ancient hand operated looms that have made fabics for the Vatican and the most prestigious and historic Italian villas and palazzi, not to mention palaces and embassies around the globe.
shop facade of Bevilacqua, supplier of velvets for Roberta di Camerino's signature purses, and purveyor of deluxe handmade textiles for 200 years; the shop is in the centre of old Venice
http://www.bevilacquatessuti.com/indexingl.htm

early 1970s dress printed to look like a sporty nautical blazer, necktie, and pleated skirt ; CoutureAllure.com

a trompe l'oeil effect evening gown printed to appear as wrapped and draped silk jersey; image from CoutureAllure.com

What is wonderful about Roberta di Camerino is that the look is original and distinctive, and has maintained a signature look throughout its long history. I would put this design house in the same league as Chanel, Pucci, Gucci, Vuitton, Lacoste, Burberry, and Hermès, but prior to the global distribution of today. You see it, you know what it is, and a venerable and prestigious history is evoked.

There have been two exhibitions of her work; in 1980 at the Whitney, and in 1999 at the Fashion Institute of Technology. In the 1950s her bags were carried at Neiman Marcus, and like Chanel (in 1957), Yves Saint-Laurent (in 1958), and Dior (in 1947), she was honoured to receive their fashion award in 1956, along with Cecil Beaton. Undoubtedly, there will be exhibitions and perhaps a book in the near future, as her recent death has brought about greater interest in her work.
Roberta di Camerino accepting her Neiman Marcus award with Cecil Beaton, 1956; note the black cut velvet evening bag of her own design; image courtesy irenebrination.typepad.com

What is important about di Camerino as a designer? What sets her apart from the hundreds of others who struggle to reach success in this unforgiving and competitive field? The designs were absolutely unique but wearable. They were of the finest quality. Essentially, she took centuries old crafts and concepts (printed and woven Venetian velvet, and trompe l’oeil), and made them relevant and amusing for the 20th century woman. She was commercially successful but the products were never ubiquitous. Her work promoted Italian and Venetian heritage, skills, and products. In an age of excessive self promotion, she subtly changed her real name for commercial use, in order to maintain a degree of privacy for herself and her family, and preserve a sense of discretion and mystique. I am reminded of other great designers such as Mainbocher, Mad Carpentier, and Louiseboulanger who also adapted family names for business purposes, creating a sort of sartorial nom de plume, or rather a nom de ciseaux.

A wonderful story about her has often been repeated. Di Camerino was a client of Chanel. It isn't surprising, as she admired quality, fine workmanship, wearable design, and fashion talent. She was upset about the blatant copying of her distinctive velvet bags. At the time, they were seen on the arms of stylish women such as Grace Kelly, Soraya, Maria Callas, Sophia Loren, Paola of Belgium, and Elizabeth Taylor. Chanel told Camerino that she should only cry when they stop copying her. Her influence is seen in many vintage inspired fashions today. The designs of Moschino have shown Camerino influenced pieces, especially things with whimsical trompe l'oeil, in several collections over the past 25 years. The house of Moschino has also maintained a powerful image that is both humourous and ironic, and at this time is the one house that best carries on the sheer inventiveness and wit of di Camerino, and at times, Elsa Schiaparelli.

a soignée Roberta di Camerino with her iconic velvet bags, late 1950s; like Chanel, her pearls were a constant; image courtesy of irenebrination.typepad.com

During the 1970s in Toronto, Canada, a handful of her designs were carried at the old flagship Eaton’s (a cross between Macy’s and Bloomingdale's) department store in Toronto. I remember the first time I saw them around 1975, and I was intrigued by the trompe l’oeil effects that made them unlike anything I had ever seen. Within the last decade, Camerino velvet handbags were available at Canada’s most exclusive clothing store, Holt Renfrew. As beautiful as they were, the luxury accessory client in North America seemed pretty much devoted to the more widely promoted luxury brands, and sadly Holt’s ceased to carry Camerino's wonderful printed velvet doctor-style satchels.

Splendid examples are available on eBay and through vintage clothing shops. For anyone who appreciates Italian heritage, unique design, quality, and an amazing history, a Roberta di Camerino bag or trompe l’oeil scarf or dress is a fantastic addition to the wardrobe. And as serviceable as black is, isn't nice to know that there are colourful alternatives?

A cotton canvas tote bay from Old Navy, spring 2010 collection, showing the trompe l'oeil effects that were first shown in the designs of Roberta di Camerino, photo SwF
detail of silk screened faux saddle stitching in the above tote bag, photo SwF

printed wool dress, with boldly graphic draped blowing skirt effect, circa 1980, this very representative piece is available at mlvintage.com

the classic Camerino 1950s velvet satchel that was worn by Elizabeth Taylor and Grace Kelly; the designs were reissued in the 21th century, riding the wave of interest in vintage fashion; CoutureAllure.com

Horticultural Hyacinths in Your Winter Garden

2010-10-05T18:49:00.010-04:00

From Christmas until the beginning of spring, forced hyacinths add cheer when days are short and dull. Note the root development.

Forced hyacinths tucked in among green foliage houseplants create a winter garden atmosphere. The planter is a Louis XVI wine cooler with a copper well.

Horticultural hyacinths in your winter garden? That sounds expensive and rarefied, but you don’t need a vast conservatory or staff of gardeners to enjoy the splendid effect. In fact it is easy and inexpensive to have them.

At this time of the year, I am attracted to the colourful displays of spring bulbs at garden centres. Raised to perfection in Holland, world centre of the spring bulb industry for over 200 years, there are tulips, crocus, hyacinths, narcissus and daffodils in hundreds of varieties and colours.

One of my annual autumn rituals is buying spring bulbs for planting in October or November. Winter in Canada is lengthy, and looking forward to springtime flowers helps me through the season. In addition to those in the garden, I buy a few dozen hyacinths which I force for indoor use. From Holland come special glass jars made specifically for forcing the hyacinth. They are hourglass shaped and water is filled to below the "waist,” and the bulb placed above it.

These are put into a cool (but not freezing) dark place, such as a garage, cellar, or refrigerator, for 8-10 weeks. After that, they can be put in a window sill, and soon exquisite, fragrant hyacinths (Hyacinthus orientalis) will grace your window sill. I have them among pots of greenery such as ivy and philodendron, and vases of cut forsythia branches that can be forced after January. The effect is lush and pleasing when ice and sleet cover the view beyond the windowpanes.

This is a very simple, foolproof procedure that will allow you to have spring flowers for most of the winter. The hyacinth bulbs and the special glasses are available at plant stores from September up until Christmas. Hyacinths come in many new colours. There are yellow, peach, and orange as well as the classic purple, mauve, white, and pink.

When filling a bulb glass, make sure the water level just grazes the bottom of the bulb (if it is much higher they tend to get mouldy). Make sure that the cool spot doesn’t drop below freezing. One year we had a record cold spell, and most of my hyacinth glasses froze and broke in the root cellar where I keep them.

The hyacinth bulb sits above the "waist" of the special bulb glass. Water just touches the bottom of the bulb where roots very quickly emerge.

hyacinths in different types of bulb glasses after 6-10 weeks in a dark cold cellar

Within a week of being placed in water, the bulbs develop a vigorous root system.

The glasses themselves can be works of art. Regular plain glass ones from Holland are about $4.00 each, although they are often available at garage sales or thrift stores for a quarter. However, there are many old examples such as Victorian art glass or cut crystal, cranberry glass, tinted Depression glass, mid century Scandinavian or German art glass, and other types that are highly collectable, sometimes costly examples.

a chunky green Depression glass example of a bulb glass

an elegant crystal bulb glass with a swirl design; a very durable heavy glass utilitarian type preferred by serious hyacinth fanciers

Whether you admire forced hyacinths for the bulb itself, or for the interesting vintage containers that have been made to hold them over the past century, the fresh, somewhat cloves-like scent issuing from the up to 70 florets of a single fresh hyacinth will bring springtime to your home, many weeks before it comes to the garden.

a colourful trio of vintage hyacinth glasses; the tall blue one is an unusual 1960s example with a Jetsons aesthetic

The crisp form of these mid century European bulb glasses would look great in a modern interior.

A very deep pink, almost red hyacinth will be ready for Christmas if planted now. This robust and fragrant variety is "Jan Bos."

Photos by SwF

University of Toronto Book Sales, Autumn 2010

2010-09-23T12:47:00.004-04:00

under these stained glass windows at Victoria College are books on the fine and decorative arts

the main entrance to Victoria College, with collectors lined up since early morning for the 3:00 p.m. opening

no bookstore that I know of has fine oil paintings on the walls; there is a lovely atmosphere of old academia

waiting in line for the Victoria College sale, one admires the picturesque late Victorian architecture, complete with whimsical turrets and towers

Among collectors and book dealers, the fall sales at University of Toronto are much anticipated. These sales have been annual events for decades and are important events on the fall academic calender. Lineups begin in the morning for the start of the sales in the afternoon. Upon entering the rooms, antiquarian dealers start scooping scores and scores of books and putting them into boxes or piles that they cover with jackets or blankets. It becomes both aggressive and territorial although with the economy these days, it isn't as bloodthirsty as it once was. For their efforts, the early bird bookworms are rewarded with rare and wonderful treasures.

The best sales are at Victoria College, University College, and Trinity College. They are held once a year, each autumn. If you line up for a good length of time before, make sure you take some (discardable) reading material, or a friend to talk to. It can be a long wait, but it is definitely worth it. The dates for Autumn 2010 are:

Victoria College, September 23-27

University College, October 15 - 19

Trinity College, October 22-26

St. Michael's College, October 26-30

As of the first sale, at Victoria College, I've not seen any e-books; these annual events are traditional, old school activities and it is a bit like going back in time to the pre-electronic age. Make sure you've got room on your shelves because there are many wonderful things. Things you didn't know you needed....

Cheers to the Deliciously Stylish Negroni

2010-09-19T20:00:00.001-04:00

a chilled Negroni ready to go; SwF

the three ingredients necessary for the classic Negroni cocktail; SwF

One of my favourite films is "The Roman Spring of Mrs. Stone," adapted from a novel by Tennessee Williams. This 1961 production features Vivien Leigh as recently widowed and now retired stage actress Karen Stone, who moves to Rome to start a new life. She is introduced to a fascinatingly sinister contessa, Contessa Magda Terribili-Gonzales, played perfectly by Lotte Lenya. The contessa procures for Mrs. Stone a manipulative, deceitful, and temperamental gigolo named Paolo, played by Warren Beatty. The story follows the doomed affair of Karen and Paolo in glamorous Roman cafe and nightclub society.

vintage movie poster of "The Roman Spring of Mrs. Stone," Wikipedia

As much as for the human story, the characters, and the dialogue, I admire Leigh and Lenya as forces of nature, as well as the beautiful Roman settings and art direction of the film. Leigh is dressed entirely in Pierre Balmain couture, and looks exquisitely regal throughout.

http://www.youtube.com/watch?v=6Y5uJxZp-cE&feature=related

Several times throughout the movie, the contessa and Mrs. Stone drink an Italian cocktail called a Negroni. I decided to find out what this drink was and try one. I was pleasantly surprised. The drink was created in the early 20th century. It consists of an ounce of gin, an ounce of Campari, and an ounce of red Vermouth, and a twist of orange peel. It is not to everyone’s taste, being somewhat bitter and considered a drink for the mature. It is a perfect aperitif; the bitter aspect tantalizes the tastebuds. I’ve come to quite like them, and was fascinated by the history of the drink.

According to the CocktailAtlas.com, “It was invented in the early 1900s by a Florentine aristocrat, Count Camillo Negroni. The count asked a bartender to add some bite to his preferred cocktail, the Americano. With an addition of gin, an instant classic was conceived, and the Negroni became the Count's new favorite.”

Next time you want to stimulate your appetite, and conversation at a party or social event, order the sophisticated Negroni; for a moment you'll feel like you're in Rome.

Cheers to the Negroni.

The Concrete Cafe and the Urban Jungle

2010-08-23T21:00:00.002-04:00

Baldwin Street in old Toronto, showing outdoor seating areas of restaurants; note the window boxes with light green sweet potato vines; small trees and striped canvas awnings add charm; photo Joseph Wagenhals, aworldofpictures.com

the outdoor area of the Second Cup Cafe Empress Walk in north Toronto; note the massive air vent, concrete paving and walls, and lack of plant material to soften the setting; there is no shaded area

lushly planted natural wood flower boxes a the Niagara Street Cafe, Toronto; image courtesy of www.aminglingoftastes.com

Irish Pub at College Park, downtown Toronto, with several large planters of petunias on the railings and potted palms on the pavement; colourful canvas umbrellas offer shade on Toronto's dog days and add old world charm; photo SwF

The outdoor seating area at Fran's Restaurant on College Street; the attractive bright green vines are sweet potato plants that are readily available at any garden centre, inexpensive, and very easy to grow; photo SwF

In the Empress Walk shopping complex adjacent to Mel Lastman Square in north Toronto, there is a very successful, thriving coffee shop. It is in the corridor leading into the subway station, so there is a lot of pedestrian traffic, and the shop is always full. It also has an outdoor seating area that hundreds of commuters walk past every day on their way to and from work.

The interior seems pleasant enough, with large windows bringing natural light. Unfortunately the outdoor area leaves something to be desired. In spring customer relations of the Second Cup was contacted asking that the litter be cleaned, and the shabby, rusty railings be painted. It was suggested that the area would be more attractive if there were a few plants. Several studies have shown that treed and planted urban areas are less susceptible to crime, graffiti, and vandalism.

A few weeks later, the area was noticeably cleaner, and new black rust paint was applied to the rusted iron enclosure. Sadly, no plants were ever put in the area. This is rather unfortunate as the paving material and adjacent walls are cement, and there is a massive air vent set into the wall of this area. Certainly a few plants would greatly improve this public space. In recent years, more and more cafes and outdoor restaurant areas in Toronto have been enhanced by flowers and plants.

Personally, I would rather have my coffee or lunch at the Fran's or Irish Pub on College Street than this bare outdoor cafe area. Perhaps the Second Cup, or the property manager of the mall, Rio Can, could offer a financial incentive for the franchises to accent outdoor areas with plants. It would be good business and it would make the shops better members of the community. Come on guys, buy a couple sweet potato vines, they're just a few bucks.

Starbucks at Yonge and Summehill, Toronto; photo SwF

A Roll in the Hay With Lagerfeld’s Chanel; Not Your Usual Burlap Sack

2010-08-16T20:51:00.001-04:00

Chanel boutique, spring/summer 2010; jacket in neutral patchwork, wooden clogs, linen bag; Chanel photo

In an interview after the presentation of the Chanel Spring/Summer 2010 Boutique Collection, Karl Lagerfeld said that country life is different than in former times because today, technology keeps us connected to whatever we wish. The bucolic life is quiet and isolated only if one wants it that way. Lagerfeld has always been quick to embrace technology and it is well known that he has multiple iPods and he quickly embraces innovation and change. Lagerfeld is one of the most culturally aware and au courante designers of our time. He is adept at synthesizing trends, historic styles, and cultural influences. He processes them into clothes and accessories that are modern and fresh. His mind is quick, and just as he switches effortlessly from French to German to English, he can also conjure up a virtuoso collection without appearing stressed. Unlike many designers who take inspiration from other epochs and style, his style references never look costume-y.

The traditional, iconic Chanel style continues to enthrall fashionistas decades after it returned to prominence in the 1950s, however Karl Lagerfeld has done admirable work in keeping it new but recognizably Chanel. When I first viewed the spring/ summer 2010 RTW collection, inspired by Marie Antoinette’s country escapades in which she retreated to a small dairy village on the grounds of Versailles, I didn’t see much of a connection. It was French, it was country, but stylistically, I couldn’t see anything of the 18th century queen in these fashions of 2010. This summer, I've had the opportunity to view several pieces from the collection close up, and am having new thoughts about it.

Clearly, the Chanel spring/ summer 2010 collection is not intended to be a literal take on late 18th century French fashion. Rather, it is a philosophical or aesthetic inspiration of her idealized and deceptively simple escape to the rural. At her little dairy, Rambouillet, a 10 minute walk from the palace, the style was countrified, but of the highest level of refinement. The details of garments in this Chanel collection also appear simple and rustic, but in fact they are carefully conceived and have discreetly elegant details. At Marie Antoinette’s dairy, and in this Chanel collection, the highest levels of French craftsmanship, dating back to pre-Renaissance times, are evident. For her Hameau de la Reine, accoutrements were made by the best French designers and artisans. The milk pails, embellished with finely modeled heads of rams, were of exquisite Sèvres porcelain from the Royal Porcelain manufactory, hand painted with enamels in faux bois, rather than rough real wooden buckets. The creation of something that appears simple but is actually of fine material and highly skilled workmanship as these Sèvres milk pails were, is comparable to these Chanels. At first glance these clothes may appear as straw and coarse burlap, but they are quality silks and linens, used in carefully designed garments. In the 1920s, Chanel's little black dresses were described as "pauvre deluxe;" the idea of silk/linen "burlap" is Lagerfeld's 21st century example of luxurious poverty.

La Laiterie de Rambouillet, bas-relief, 1780-1787; Photo, Manufacture Nationale de Sèvres

Continental porcelain, likely Dresden, cooler or bucket from the London Home of Mrs. Charles Wrightsman, after the Sèvres model made for the dairy of Marie-Antoinette at the Hameau de la Reine, auctioned April 28th, 2010 ; Sotheby's photo

The workmanship, design, and quality seen in this collection are superb and of a refinement only possible in France or Italy. The most constant chromatic theme is the use of burlap, wheat, and straw-like and colours. Linking this to the preferences of Coco Chanel, straw beige was one of her favorite colours.

There was a very small collection within the collection that was red, white and blue, a summery look inspired by daisies, red poppies and blue cornflowers of the farm fields of France, and the July 14th Bastille Day decorations seen everywhere in France during the early summer. One "Bastille" look was of an ecru cardigan, matching skirt, burlap and wood clogs, and faux wicker or burlap purses, all with the applied red, white and blue patriotic flowers. This ensemble was one of the most popular, and was featured by many top fashion magazines. It is very charming, and it could be easily approximated by someone who loves it but can't afford it or find it. A style savvy woman could find a simple Orlon or cotton vintage cardigan at the thrift store and appliqué felt, silk, or crocheted flowers on it, and it would look delightful. But this would be like comparing a poster of a fine painting with the actual artifact in a museum. The skill and workmanship on these floral pieces was both sophisticated and detailed . Each flower was hand crocheted in a very fine gauge fiber. They were of just the right body and sturdiness to be dimensional and raised, but avoid being crushed or damaged worn. With tax, this piece would cost over $8,000.00 Canadian; it is certainly something that will have a limited clientele.

Chanel pullover from the Bastille Collection within the Spring/Summer Boutique collection, with applied crocheted poppies and cornflowers; pale gold buttons at the hip; photo courtesy of "darmardan" who recently had this top currently listed on eBay

a beautifully exectuted, hand-crochetted poppy; Chanel Spring/Summer 2010, image courtesy "darmardan"

For these summer 2010 Chanels, quality and taste are used in a discreet and modern way. On the surface, the silhouettes and cuts are not innovative or daring, but the pieces are very beautiful, flattering, and wearable. As production is limited, afficionados consider them collectable works of decorative, wearable art and craft. While much of the collection was monochromatic beige and cream, it avoided Grace Kelly propriety, with edgy, urban details such as delicate faux tattoos (a special edition Chanel Beauty product) the models had on their legs, and dark, almost black, lips and nails. The signature Chanel frayed hem and cuff looked especially appropriate when used for these country inspired, casual pieces. Jewellery and accessory collections were carefully thought out and related to the clothes of the collections. Stacked wooden and cork clogs of burlap, embellished with provençal flowers, contributed to a level of co-ordination usually seen in 1950s couture.

Some of the classic Chanel quilted handbags appeared to be of burlap but the material was not scratchy like jute, and the stitching was done with interesting, raised fibers, giving the whole piece a fuzzy, slightly spiky depth and texture. The jewellery was also thematically linked. The jewellery finish was a dull, pale, soft gold that was almost a metallic beige. One theme in the jewellery, the stalk of wheat, is a classic from the Chanel vocabulaire. In Chanel’s Rue Cambon apartment, the wheat motif is visible in several places; notably there is a tiny oil painting of a single stalk of wheat, by Salvador Dali. This season, delicate stalks of wheat embellished belt buckles, brooches and necklaces. The classic interlocking double C logo was done in faux bois to look like twigs from a country woodland. In all aspects of the collection great attention was given to detail. I spoke to the manager of one Chanel boutique who mentioned that customers were very interested in this beautiful collection, as are they for the global warming theme, faux fur Fall/Winter 2010 collection that will beginning hitting stores any time now.

a brooch from the Spring/Summer 2010 Chanel Jewellery collection in faded gold finish incorporating the wheat motif as a wreath with a central double C logo rendered in faux bois, private collection

The "Marie Antoinette in the Country" inspired collection is an ideal look for a 21st century summer. It speaks to our longing for the country when most of us live complex lives in congested cities. It is simple and comfortable, and at first glance doesn’t draw unwanted attention or evoke envy during these times of economic difficulties. It has a distinctly casual look that doesn’t look too formal or too ladies-who-lunch, at a time when social barriers are much less evident, and denim jeans are the default choice of many. It does however satisfy the desire for quality, excellent design, discreet prestige, and superb quality for those who have the means, and an understanding of the creativity and great care that have gone into this subtle but very fine collection.

The iconic Chanel camellia, spring/summer 2010 version, of linen "burlap;" a fine, barely noticeable gold thread in the fabric adds textural interest and a subtle touch of elegance

A simple flower made with plain burlap and a vintage Chanel button; design, photo, and styling by SwF

It isn’t enough to be able to afford it, because even for those who can, these limited pieces have moved out of Chanel boutiques very quickly and were sold out. And for those of us who cannot afford a $3,000 Chanel basket purse, a $25.00 willow basket, as the Europeans take to the morning market for shopping, will look every bit as charming. In fashion and design, taste and creativity are just as important as cash.

This week marks the birthday of Coco Chanel, born August 19, 1883.
for a few dollars, a simple wicker basket and flowers from the craft store makes a summer carrier as pretty as those by Chanel; photo and styling, SwF
Chanel 2010, straw basket style handbag; image, thatsafabuloushandbag.com

resin heel in Louis XVI style with neo classical floral swags recalls those on furniture of the period; photo SwF

a layered, tiered hem of frayed faux burlap, racy black lace, and gold thread wheat motif embroidery, viewed with a delicate Chanel Beauty faux tattoo; an unfinished burlap garment could easily lapse into Li'l Abner potato sack territory, but Lagerfeld avoids this with a more complex hem; we see a border of embroidered wheat and a flounce of delicate black lace, traditionally associated with luxury and refinement; photo SwF

note the top tier of the hem. It is a band of unfinished burlap like material, used on the bias, with the artfully frayed edges stabilised with 2 rows of machine stitching; photo SwF

the elegant beige and white scheme so lovely for summer; edging and waist band of crocheted braid; photo SwF

Chanel's country casual cork clog, embellished with a summery white poppy, photo Swf

Annigoni Paints Sonja Bata, and Vice Versa, part II

2010-08-09T18:07:00.002-04:00

Sonja Bata in her study showing her Annigoni portrait over the fireplace in her study, City and Country Home Magazine, May 1989 Portrait of Sonja Bata, Pietro Annigoni, oil on board, 1963 , image courtesy of Sonja Bata

As I interviewed Mrs. Bata, our discussion drifted from the fascinating portrait to Annigoni's work in general, architecture, and the Bata Museum, which celebrated it's 15th anniversary this year. Her knowledge in many fields is comprehensive, and her opinions demonstrate wisdom, intelligence, and experience.

S.w.F.- I write about and discuss fashion in my blog. The red coat you wear in the portrait is beautiful. Who were some of the designers you wore during the period?

S.B.-I did at that time buy quite a few designers and I went to Paris quite frequently. It wasn’t Chanel, but one of those designers.

S.w.F.- I wondered if it could be Balenciaga.

S.B.- I had a beautiful piece by Balenciaga, but the red coat in the painting was not Balenciaga.

S.w.F.- The simple red coat you wore is an excellent choice for this portrait. It is so pure and rigorous that it defies obvious associations. It does not speak of status, era, function, or current fashion, and therefore does not distract the viewer from the image of the subject. The rich red attracts, but it is muted, almost antique, so that it doesn't overwhelm. It is a monastically simple coat, like many of the severe and simple garments of Balenciaga, Givenchy, Hardie Amies, or Oleg Cassini. It is perfect as it is so appropriate and compatible with the style of portrait, yet is a pure, architectural garment such as was fashionable in the early 1960s and is just as elegant today. I’m wondering if you can tell us anything about it or the designer.

S.B.-I cannot remember who the designer was, but it was one of the top designers. I remember I didn’t know what to wear to have my portrait painted, so I wore a very simple dress and I wore that coat over it, and when I arrived there he said, “Don’t take the coat off. I’m going to paint you the way you are.” I think he liked colour. So there was never any question about it. So he painted me in the coat and gloves, the way I wore them to the door. The starkness of it, again, as I mentioned...we had two slightly different approaches to Art. He was totally immersed in the Renaissance and everything that happened in the late 19th century and the 20th century was strange to him. He couldn’t comprehend it. Among modern painters there are classical modern painters. He tried to convince me of the Renaissance and what was involved in the Renaissance, and so we had these discussions. They went on for years, and after the portrait was finished we visited in Florence, and then he came to Canada, so we still saw each other from time to time.

Self Portrait by Pietro Annigoni, 1946

S.w.F.- Do you recall, approximately, the year Annigoni came to Canada?

S.B.-I would have to look it up. He painted my portrait in ’63, then it must have been ’67, '68, or '69? It was several years later that he came. He was an extraordinary man. He also knew how to live. He had so many girlfriends that it was outrageous. He loved women and he loved to drink, but in a nice way, you know, in a very nice way. Somehow he spoke about it rather frankly, and he was quite funny.

S.w.F.- It is well known that he was a womanizer and hard living. Did you see any evidence of a wild or reckless side to his nature or character?

S.B.- Oh, there was quite a bit going on in London. And one thing, he had a girlfriend that he was extremely fond of, and she posed for him as a Madonna which he painted for one of the British churches, and she really was not a Madonna! I remember he took me to show me this finished painting and I just couldn’t get over it. "You know who she is. She is a very beautiful woman, but here she is a Madonna!" It was very strange, she shouldn’t be painted like that (lots of laughter). We had fun; we laughed about it.

S.w.F.- Do you think Annigoni felt compelled to idealize women in his art in a way that he did not in portraits of men, as in the portrait of JFK, with a droopy eye, and in images of some male saints?

Portrait of John F. Kennedy, Time Magazine cover January 5, 1962

S.B.- The drawing of Bernard Berenson is a very good one. I have wonderful drawings he did of elderly men which were stunning. I think he was attracted by women, he enjoyed working with women and he brought out the best in them. He wasn’t interested in painting children.

S.w.F.- I understand that Annigoni bicycled to his studio each day. Does this appeal to your interests in ecology, sustainability, urban issues, or perhaps a certain admiration for a European lifestyle that is less dependent on the car?

S.B.- Well, I don’t know enough about it. I remember in Florence he walked to his studio. You know these are very old, narrow streets, cobblestone, and I don’t believe bicycles were there, so I think he walked quite a bit. He enjoyed walking. He loved to be in the countryside. He liked to be outside.

S.w.F.-I have a question about the room situation and the frame that the portrait is in. In the photo in City and Country Home Magazine, it is over a neoclassical mantelpiece, and it seems to be more of a traditional room. Is that the way it is now?

S.B.- Yes it is. It is in a study which is paneled with wood, and it hangs over a fireplace.

S.w.F.-So you would say it’s in more of a traditional setting.

S.B.- Yes it is.

S.w.F.- I am curious about the frame which sets the work off so beautifully. The frame seems to be a substantial, plain gilt molding, which is classic and traditional, but as simple as possible. It is classic enough to be 18th century, Renaissance, European, or English.

S.B.- Annigoni picked the frame in Florence. It came with the frame. I could have no influence on the frame whatsoever!

S.w.F.- Well, I think it’s perfect. It’s absolutely perfect.

S.B.- He chose the right frame, and that was it.

S.w.F.- Has the painting required anything in terms of conservation?

S.B- No, I think I really should get it cleaned because the fireplace underneath is used from time to time and so probably it should just be cleaned with distilled water, no special cleaning.

S.w.F.- If an important museum such as the National Portrait Gallery had an Annigoni retrospective, would you consider loaning your painting, if it was requested?

S.B.- I think if it is an important museum, yes. Yes because I think the painting is one of his better works. It’s funny. The things he liked himself are not necessarily the most popular ones.

S.w.F.- You’ve already touched on this, but what is your opinion of the Princess Margaret portrait.

S.B.- No!

Portrait of Princess Margaret, oil on canvas, early 1960s; note the highly Renaissance style and details, and religious feeling with an illuminated cloud behind the head suggesting an aura or halo

S.w.F.- I wonder if she found it embarrassing.

S.B.- I don’t know but he did a portrait of the Queen later on when she got some doctorate or something, she has one of those funny hats on.

S.w.F.- I suppose you would have been uncomfortable if he would have painted you in such a sweet, kind of sentimental way.

S.B.- Ah, I don’t think he wanted to, and I would have walked away...(laughter).

S.w.F.- Have you ever considered having the image on a postcard for the Bata Museum shop?

S.B.- No. No, because it’s rather private. It’s funny, but very few people know about the portrait, few people come to my house, so not too many people know about it.

S.w.F.- I read of a firm David Bird, whose English firm, Family Copies, specializes in copies of fine, valuable paintings, and that many Annigoni portraits hanging in homes are reproductions while the originals are in vaults. Have you considered having a copy made for the museum, or for other family members to enjoy, or for safety?

S.B.- I know where another image of the face is. About 3 or 4 years after he painted me, he got a commission by a family in New York, Stillman is their name, for huge painted wall frescoes, and I am one of the figures in this work. He introduced me to the family because he told them he was using my head. It’s one of 6 or 7 figures in a landscape. The family, as a hobby, was involved with horses and they came to a horse show in Toronto, and we met at that time.

(Note to reader: Chauncey Stillman was an American philanthropist, connoisseur, and architect. Annigoni spent a year painting frescoes in the ballroom of his neo Georgian residence, the 1,200-acre estate, Wethersfield)

S.w.F.- You talked a bit about the womanizing aspect Annigoni, but he also did so much religious work. Did you sense anything spiritual or religious in his character or behaviour?

The Glory of St. Benedict, 1980-1985, Abbey of Montecassino, Italy, fresco; this genrous work is 40 m²

S.B.- Ah, that’s a funny question because he enjoyed working in churches and he enjoyed painting saints. You had a feeling that in painting saints that he felt he was painting somebody really special. He certainly wasn’t a church going individual as far as I know. He had a tremendous respect for things which were religious.

S.w.F.- You said that you discussed your great interest in architecture with Annigoni. I believe you love modern architecture and innovation, such as the Moriyama design for the Bata Shoe Museum and the architecture of your home in Batawa. I would imagine that if Annigoni loved classical portraiture, he also admired classical architecture derived from the Renaissance and from and antiquity. Do you think that you shared common ground with regard to architecture?

S.B.- Well I think the ground we shared was that architecture is good if it’s not trendy, with other words, if it is good it stays good. I believe with modern architecture as with the work Moriyama did for me, the Bata Museum was opened in ’95, and I still think the proportions are right, it fits in the street scape. So as long as it fits into the environment, it becomes part of the environment. Modern architecture can be very beautiful.

S.w.F.- He agreed with you on that?

S.B.-We agreed.

S.w.F.- It is exactly 15 years that the Bata Museum has been opened. Have you been satisfied with the endeavor?

S.B.- I’m very happy about the building. Moriyama was given an award for the building, and he said it is his favourite museum and his favourite building.

The Bata Shoe Museum at Bloor and St. George St. in downtown Toronto, designed by Raymond Moriyama, opened in 1995

S.w.F.- You grew up and were educated in Europe, specifically Switzerland, with a central location that gives one excellent exposure to the art, history, and design of northern and southern Europe. How important is it to spend one's formative years surrounded by great and important art, architecture, and design?

S.B.- You know, as I get older, I find it is terribly important. Because even on my way to school I passed all these ancient cathedrals. You see good architecture, so you are educated with that, and you learn how to look at things.

S.w.F.- And you just subconsciously absorb the proportions, right?

S.B.- Yes you do, and you see other things, and it reminds you of what you remember. So I think it means a great deal to be surrounded by these things.

S.w.F.- In that sense do you think that this is possible in America in the way it is in Europe?

S.B.- Well, I think we have to improve our man made environment a little bit. We do so many things just to shock or be different, and it is horrible.

S.w.F.- How do you feel about the new Royal Ontario Museum Crystal?

(note to reader: The Crystal is an irregular, aluminum and glass, deconstructivist addition designed by Daniel Libeskind. The multi story, 175,000 square-foot structure was completed in 2007, and is integrated with the original 1930s neo-Byzantine stone structure.)

S.B.- Well you know, it is interesting, I think that they wanted to do something special for Toronto, and they wanted an architect to design some sort of a monument like Bilbao, but they never spoke to the curators about it. Having the input of the people, it is very important that the people who work there have some input. He devised an extraordinary design, but it doesn’t work out.

S.w.F.- Do you feel your affinity for modernism in architecture is related to leaving the sadness and destruction of the war in Europe, and the desire for things that were fresh, new, clean, and optimistic?

S.B.- I like minimal and clean things, and functional things, and I like things which are not decorated just for decoration’s sake. So even the decoration comes automatically by having a very beautiful line. So it’s just my taste. I’m not a fan of the Victorian period.

S.w.F.- Thank you so much for taking the time to discuss your portrait, Annigoni, and your aesthetics. I have been fascinated and delighted.

S.B.-You observed the portrait very closely and you did a study on it. That’s very intriguing.

S.w.F.- Ever since I’ve seen it, it was in my subconscious. For two decades, it absolutely was, and it still is. Thank you so much.

Interview has been edited and condensed.

Pietro Annigoni Paints Sonja Bata, and Vice Versa, Part I

2010-08-02T15:45:00.008-04:00

Pietro Annigoni, portrait of Sonja Bata, oil on board, 1963

This year is the centenary of the painter Pietro Annigoni's birth (June 7, 1910-October 28, 1988). Annigoni is important for his distinctive style which was representational, realistic, and often in the tradition of the Italian Renaissance. His work contrasted with the modernist and post-modernist styles of the second half of the 20th century.

In May of this year I was honoured to interview Sonja Bata regarding her portrait, painted by Pietro Annigoni in 1963. Since the late 1940s, Sonja Bata has been directly involved in the Bata shoe business throughout the world. She has worked in many philanthropic, cultural, environmental, and educational activities and causes. Mrs. Bata has received numerous honours and awards throughout her distinguished life.

Mrs. Bata describes the highly specialized techniques of Annigoni, the character of this complex man, and the exquisite jewel of a painting that is the enduring legacy of a fascinating meeting of two highly cultured, dynamic people. I am not aware of any previous interviews with Mrs. Bata regarding this portrait, and she was very enthusiastic and willing to share her thoughts and memories of the commission and the process of how the portrait developed. As she spoke of the portrait, her animated words sparkled with joy. Her compelling description of her dear and esteemed friend, Pietro Annigoni, is a portrait of him painted in words and memories.

Mrs. Bata graciously answered many questions and supplied interesting anecdotes along the way. This interview has been divided into two parts.

S.B.- I am intrigued that you are investigating the portrait.

S.w.F.- It is a sort of personal subject, so I hope it isn’t uncomfortable to talk about something as private as a portrait. I first saw the portrait in the May 1989 issue of City and Country Home. I don’t know if you recall that feature.

Sonja Bata in her study showing her Annigoni portrait over the fireplace, City and Country Home Magazine, 1989

S.B.- I remember that it was in some magazine. It’s a good portrait, and I very much like it, not because it’s me.

S.w.F.- What drew you to commission the portrait from Annigoni?

S.B.- Oh, it was really my husband who wanted to have the painting done. I was extremely hesitant. Annigoni had painted some friends of mine, and did a really superb job, and earlier than that he painted a portrait of the Queen which is very famous. It was on postage stamps and it’s all over the place. For me it is a little bit too sweet, and in fact he didn’t like it himself. He said, "It looks like the cover of a chocolate box.” So it’s not one of his favourite ones, and I shared his opinion. But this is really how I met him, and we met socially in London, and then it was my husband who asked him if he would be interested. He was interested, and then he started painting me in London. He had a studio in England, and Pietro was a really fantastic individual in the way he behaved, and a very interesting individual to talk to, very into Art, highly educated, and then after he painted me, for many years we corresponded. He wrote to me in French, although he spoke English fluently, but he preferred French.

So he started the painting in London, with layers and layers of lacquer and paint, lacquer and paint. It takes a long time to build up and it’s really a fantastic way of painting, and then one day he said, "I really would prefer that it would be a larger portrait." I wore a red coat, and that time he was going to leave. So he said, " Take off your coat and gloves, and I can get someone to stand in for you and I will finish your portrait in Italy." Many of his portraits at that time have an almost Tuscan background. And I told him, “You know the Tuscan background? That’s not for me." I told him that as a young girl I wanted to be an architect, I studied Architecture, and I also like some modern art, not the school of modern art, but I do like some of the modern art. And Annigoni and I, we always had a tremendous argument about it, and he thought a lot of it was junk. Sometimes I took him to the Tate Gallery and he took me to other museums and we would discuss what Art was all about. But you know that in front of my portrait there is a plain straightforward railing, which is a little bit of a hint of what he thought about my modern art (aesthetic). You see that there is a very plain iron railing in the foreground of the painting. This is a suggestion of my interest in Architecture and the simplicity and minimalism I like.

Pietro Annigoni, detail from the Portrait of Queen Elizabeth II, oil on canvas, 1955

detail of the dreamy, Tuscan landscape from the Annigoni portrait of Queen Elizabeth II

S.w.F.- When you were growing up in Zürich with your parents’ fine art collection, did this prepare you or give you an appreciation for this type of art?

S.B.-Very much so. My mother was on the board of the local Art Gallery in Zürich, and had quite a collection of Impressionist paintings, so we had beautiful art at home and a really valuable art collection, so I was surround by Art, and loved Art very much.

S.w.F.- Bernard Berenson (1865 – October 6, 1959, American Art historian and expert on the Renaissance) said, "Annigoni will remain in the history of art as the dissenter in a dark age for painting." It seems you disagree with this?

S.B.- It is funny you should mention that. He always showed that drawing which he did of Berenson, and he kept on repeating what Berenson had told him, that he was such a talented artist. I would say that Berenson’s remark carried Annigoni through some very difficult periods. This man really saw in his drawings this capability. It is funny that you mention that. To him it was probably the most important remark that anybody made at any time, and it influenced him greatly.

S.w.F.- What were your initial impressions of the portrait and how did friends and family receive it?

S.B.-I think they received it well. People liked the portrait. It also has that wonderful magic of a Renaissance portrait that the eyes follow you wherever you are in the room. It doesn’t matter where, the eyes look at you. It is magic. It is a Renaissance technique that he incorporated in my portrait.

S.w.F.- What was your husband’s reaction?

S.B.- He liked it, he liked it very much. And Annigoni came to Toronto, and when he was here he painted a portrait of my husband. Frankly, I don’t like it very much, his eyes are very good, but there is something wrong with the nose. He asked Annigoni to have a studio next to his office and he would come in from 3:30 to 3:45, and he would keep on looking at his watch and somehow with Annigoni this didn’t work. He was not the type of man you could say, “Now paint. Now stop painting.”

S.w.F.- Do you feel any differently about your portrait 45 years later?

S.B.- You know it’s funny. I never look at it as my portrait. I look at it as a very beautifully painted portrait. So I feel a detachment and looking at the portrait I realize how he achieved the colour of the face and the transparency of the paints. I saw him do it, and I saw the tremendous amount of work that you need and that is necessary with these layers and layers of paint and lacquer on top of each other. He mixed his own paints and he had his wine, and he put a little wine in from time to time! It was very interesting.

We had some very interesting discussions about the restorations (of important Renaissance paintings) and at that time and Annigoni felt that they had ruined them. These paintings had also been painted with the technique of alternating layers of lacquer and paint, and lacquer and paint. They removed the top lacquer that is very soft to start with, and they don’t know where to stop. He tried to explain to me in detail, all the wrongs that were being done, and he was terribly upset about it.

S.w.F.- At the time had you considered other contemporary painters, you were in London, such as Graham Sutherland, or perhaps Dali or Picasso?

S.B.- No. I never would have wanted Picasso. I think that Dali did some fantastic paintings, but not as a portrait.

S.w.F.- How do you feel about portraits by artists such as Bacon, Freud, or when they exaggerate or distort the features?

S.B.- No, I couldn’t live with it. But I think Picasso is in another class because the work is great but you don’t look at it really as a portrait. Portrait painting is a really special art. You can be influenced by an African mask, or influenced by anything, but I believe that to paint a portrait is difficult; there are very few people who can do that.

S.w.F.- I read that in the late 1950s Annigoni had to turn down hundreds of portrait commissions. Was it difficult to have him accept the commission due to his having prior commitments, commissions, or projects? It sounds like he accepted it quite soon after your husband asked.

S.B.- He did. I think he accepted if he liked the face, and if the face was a challenge, and it had nothing to do with being beautiful or not. The face had to intrigue him in some way. You know it could be an old man or anything, but somehow he had to be able to relate.

S.w.F.- I read that in the 1950s his portraits were about $5,000.00, likely the equivalent of $50,000 today. Did it feel extravagant, or did you think of it more as your being patron of a piece of very fine art or something that was a significant cultural exercise, and for posterity?

S.B.- At that time the fee was expensive but not outrageous because of the work which is put in. Oh, it took so many sittings. There was a tremendous amount of work. He had become famous because of the portrait of the Queen which he himself didn’t care for, but this is what put him on the map. Actually, of Annigoni’s work, I have some of his sketchbooks. He sketched people left and right and he would throw these sketchbooks away afterwards in an offhanded way, keeping one or two sketches. I’ve bound them in leather because there are so many brilliant ideas in there and it is in his sketchbooks that he shows his immense talent as a draftsman. It is incredible.

I also think that some of the sketches look a little bit more modern. He did some things…at that time I was in London and I was involved in the opera as a volunteer, and I needed something for an opera program, so he said, “Fine, I’ll sketch you an opera program." In no time at all, he sketched me an opera loggia with people; he said it was more of a caricature, but it was very modern and very funny. So if he wanted to he could be modern.

To be continued. Please check Square with Flair next week for the second part of this interview. Interview has been edited and condensed.

Elizabeth Gage, Jeweller Extraordinaire

2010-07-23T10:03:00.001-04:00

the very English, black panelled traditional facade of the Elizabeth Gage shop, 18 Albemarle Street London

Elizabeth Gage has designed magnificent jewellery for 4 decades. Her exceptionally beautiful jewellery designs evoke the past and are highly original. They are unlike the offerings of any other design house. Each piece has a distinctive style, mood, or personality. They aren’t just stones and precious metal assembled for the sake of looking rich. They are pieces of art and sculpture in themselves, but ones that are elegant and flattering to wear. If one considers the designs of Ms. Gage of past years, nothing looks dated, and they remain very appealing. The beauty, taste, quality, originality, and craftsmanship would put her in the company of Jean Schlumberger, Verdura, and Donald Claflin. Ms. Gage adores colour, and it is a pleasure to view her vivid, joyful jewels.

I was happy to have the opportunity to discuss design, adornment, and jewels with Elizabeth Gage of London.

We live in more casual, less formal times. In what way are your designs are appropriate for today? They are very wearable, both during the day and at night. People treasure my designs and want to wear them all the time, for each person they make their own individual statement.

Which of your designs are you most proud of? They are all my children and I love them all.

How has antiquity influenced your designs? Very much so, when I was a young girl I went to many museums and at an unconscious level I absorbed everything I saw and now it appears in my designs.

What historic era or style of jewellery most appeals to your sense of the aesthetic? There are many eras that appeal. The Greek and Egyptian was an early love, then came the Medieval and Renaissance with their bold setting and intricate designs. Catherine the Great was also very inspirational.

The Kiss pin – cabochon Mandarin garnet, cabochon yellow beryl, diamonds, pearls and tangerine enamelThe Mary Tudor pin - a Mary 1st silver coin, 1554, 2 brown tourmalines one checkerboard cut and the other faceted, rubies, diamonds and semi baroque pearls; with a magnificent, very rare chocolate coloured checkerboard cut tourmaline (54.9cts)

Which of your designs are the most popular? Would you say that you have a signature piece?
There are several pieces that are both popular and signature pieces, for example my Kiss Pins, my Templar Rings and my whimsical parrots.

The Terrible Twins – earrings with peridot parrot heads, coral beaks, gold leaf design with enamel; motifs exhibit left and right orientation

Can you give some examples of jewellery or materials that are flattering, and enhancing complexion? Chalcedony looks wonderful against the skin and naturally pearls are always complimentary.

Please tell me a bit about your use of hammered finishes. Having studied as a Goldsmith originally the finishing of the gold work on my pieces is very important to me, the texture of the gold is an integral part of every design.

Your jewellery seems to be in predominantly a classic, rich, high carat gold colour. What is your opinion of the soft, faded, barely yellow gold that some designers of today use? It is not for me however I believe it is more interesting and important that designers do things differently and follow their own path.

Who are some jewellery designers you have admired? Jean Schlumberger, Verdura, early David Webb, Boivin, some early Marina B and of course Claflin.

What is your opinion of the designs of Robert Goossens? When I was younger I bought some of his pieces because I loved them.

Who are fashion designers whose work you admire? Early YSL, especially his use of colour and I loved his Russian collection. Balenciaga for the way his clothes hung and Valentino.

On the web pages for your designs, there is a photo of you wearing clear, bright lipstick and brilliant turquoise jewellery, and the effect is lovely. Why do you think many women are so afraid of colour? I have often wondered why, I like colour with my clothes, my home, and my jewels.

What are some mistakes women make in the way they wear their jewellery? Sometimes too afraid of colour and size. Sometimes women need to break the habit of always being safe.

Elizabeth Gage wearing her bold, gold jewellery

Do you think that different pieces being worn should in some way relate to each other? Yes, but it does not need to be a matched set, variety to me is more interesting.

What are 3 pieces of jewellery that you consider indispensable? Earrings, rings and everything else!!

What type or pieces of jewellery would you recommend for a woman on a limited budget? Begin with a ring, and that will set the tone for the rest, which will quickly follow!

How does your point of view transfer to other aspects of your life and your design choices, such as your china, silverware, stationary, clothing, interior décor of your home? I only buy what I love and you can be sure it is full of colour.

How do you feel about the loss of old British crafts such as those of the silver, textile, and ceramics industries? Very sad, however I think in this mass produced world people are now seeing the value of craftsmanship and I see a Renaissance on the horizon.

Your designs are only available from your shop in London or at a few showings abroad. How important do you think exclusivity or limited production is in maintaining prestige? I do not do it for prestige, I do it this way to maintain quality. I see all my pieces before they go on sale, and often several times during the making process. This would become impossible if I was to mass produce.

Would you ever consider a short term run, limited edition, mass produced item for a company such as Target, or tiny, solid perfume container for a prestige company, so that a wider range of the public and perhaps young women or students could experience your designs in the way that Karl Lagerfeld designed for H & M? Maybe, this could be fun.

Elizabeth, thank you for sharing your inspirations and ideas about jewellery and design. It was a delight!

interior of the London salon, design by Elizabeth Gage; family heirlooms include pieces of furniture, the 18th century French lantern, and oil paintings by her mother and grandmother, airy white Brighton Pavilion chairs add garden freshness to the room , additional pieces of antique furniture and mirrors were selected by Elizabeth; she wanted the interior to feel comfortable and welcoming like her private drawing room rather than a store and indeed it does when compared with the slick showrooms of Cartier that conform to a uniform, corporate style around the world

Elizabeth selected the soft, sage green wallpaper with an over scale William Morris-like cornflower or carnation motif

http://www.elizabeth-gage.com/

Images and jewellery designs are copyright of Elizabeth Gage.

Many thanks to Zoë Simpson, Chief Executive, Elizabeth Gage Ltd. for arranging this interview and supplying extra information

Bastille Day 2010, from Chanel

2010-07-11T14:32:00.030-04:00

a charming crocheted cardigan and skirt with appliqued flowers of very fine gauge crochet; shoes with wooden heels and insteps embellished with pinwheel ribbon flowers

Bastille Day, the national holiday of France is celebrated on July 14. The French are very patriotic, and tricouleur flags and bunting are never in short supply on le quatorze juillet .

In the spring/ summer Chanel 2010 which had a rustic, country theme, Lagerfeld had a mini collection within the collection, consisting of four pieces with a Bastille Day theme. The most popular look was a beautiful off white silk/ linen crocheted cardigan and matching skirt that were appliquéd with very finely crocheted red poppies and cornflowers that evoke a summery meadow in Europe, as well as the colours of the French flag. It was carried in many of the Chanel boutiques, and it was widely photographed for fashion magazines because it was so wearable, fresh, and delightful.

Matching shoes and handbags, embellished with brilliant summer poppies, co-ordinated with the outfit. Tricouleur outfits are not new to Chanel nor to other designers. During the war, in subtle defiance of the Nazis, Chanel and other designers did muted tricouleur dresses...pink, powder blue and white. After the liberation and the end of the war, several Paris designers did tricouleur outfits in celebration of peace and victory.

The use of wheat with red poppies and blue cornflowers is a classic European summer look is notable in the folkloric costume of middle Europe and one that surfaces in the collections of current fashion designers from time to time. Yves Saint-Laurent was well known for revisiting this theme in his charming summer boutique and couture collections. The look is very easy to adapt. Take a simple, light, off white cotton sweater and embellish with red and blue flowers. Not only is it very pretty, it is easy to wear, appropriate for many occasions, and it is classic and will never look dated. What more could you ask of a summer outfit? Chanel spring/summer 2010 crocheted bag with appliqued poppies and cornflowers; these flowers are the same as those on the cardigan above; note the muted, pale gold metallic closure

Above, a tricouleur dress of off white crochet, over midnight blue silk, appliqued with pinwheel style ribbon flowers (also on instep on the faux bois shoes). Chanel is known to use Mokuba ribbon, though this look is labour intensive and expensive, it could be interpreted by a person with the most basic sewing and craft skills. The draped stole of nylon tulle is also easy to make. Tulle is never hemmed, just cut. The stole consists of purchasing the length of fabric desired, then draping it artfully. Here Lagerfeld gave interest by combining white and darkest midnight blue tulle.

detail of one of the hand crocheted cornflowers that were applied to sweaters and handbags; here the textural interest of the knit sweater and the crocheted flowers is evident in a way that it is not when viewed on quickly moving models on the runway presentation

front of silk/linen pullover, made in Italy from the Chanel "Bastille" country look collection; image courtesy of "darmardan"
Chanel pullover with applied crocheted poppies and cornflowers; pale gold buttons at the hip; photo courtesy of "darmardan" who has this top currently listed on eBay

a beautifully executed, hand-crocheted poppy

a charming swallow, emblem of luck and happiness, decorates a filigree button on the Chanel "Bastille" sweater

LILLY PULITZER, Fifty Years of Palm Beach Preppy Prints

2010-05-31T22:18:00.017-04:00

vintage Lilly Pulitzer men's slacks, circa 1970, worn with a Lacoste polo shirt in the Palm Beach manner

1960s Lilly Butterfly Print Skirt
an array of 1960s-1970s Lilly Pulitzer Men's trousers, private collection

Summer is here, and the prospect of barbecues, holidays and relaxation stretches before us. Summer isn't just a season, it is a state of mind. One of the ways we enjoy summer is in the more casual way that we dress. Seersucker, linen, bright and light colours, all look and feel great and help us enjoy the season. What would July and August dressing, or for that matter resort dressing, be without Lilly Pulitzer? Lilly is the Florida designer known for her unmistakable, brightly coloured prints, who this year celebrates the 50 year anniversary of her first designs.

In the label's heyday of the 1960s, her fashions were worn by Jackie Kennedy and members of the Kennedy family, as well as Vanderbilts and Rockefellers. The look said, "Leisure class, preppy, country club, cocktails by the pool." It was establishment, but very funky and slightly eccentric establishment.

Growing up in cold Canada, I never really knew Lilly. When I was in university in the late 1970s, I used to frequent thrift shops. From time to time, I came across trousers in colourful prints with the label, "Lilly Pulitzer, Palm Beach." I had never heard of the designer, but the prints were so whimsical, so original, and so amusing, that I was smitten. At that time, I tried to research the designer but found that the label was out of production. The label in fact ceased in 1984 and was revived in 1992. In the 1980s, to most eyes, the prints looked hopelessly wild and psychedelic as the fashion industry embraced the haute Conservative, haute bourgeois propriety of the Regans. Nonetheless, I continued to collect these powerful Pulitzers. Then I noticed, almost simultaneously with the revival and renaissance of Pucci fashions and that label, that hipsters and those in the know could be seen wearing vintage Lilly Pulitzers. Eventually, the label was revived and a new generation was introduced to the designs of Pulitzer.

At first glance, a Pulitzer print looks rather bold, especially in a world where so many are in black or beige. But look closely, and you will see that often only one or two colours are strong, and the rest are retiring. The themes of the prints are whimsical and charming. There is always something sophisticated or a certain finesse in the patterns that prevents them from looking comical or juvenile. These are not your typical 1960s wild flower power florals. Most motifs were based on nature and include subjects like pandas, seashells, butterflies, tropical fish, etcetera.

"lilly" signature concealed in the stripes on the zebra's back
signature concealed, like camouflage, among the spots of a seashell
a wild, tropical pineapple print
signature in the fur of a panda bear
early 1970s print of pandas and bamboo in a typical green and yellow colourway of the period
this print was of yellow and aqua; the overprinted areas resulted in the verdant green
Lilly Pulitzer fish and shell motif print, perfect for seaside resort wear; signature at edge of the shell

All the prints are discreetly signed. It is hidden, like a treasure to be found, in the design. "Lilly" might be spelled out in the veins of a leaf, or the stems of meadow daisies, or the fur of a panda bear's back. While current Lilly prints are charming, they cannot touch the vintage ones for charm, whimsy, and innovation. Really, I wish that they would periodically re-issue the old ones. Lilly is famous, but not nearly as famous as she deserves to be. It is my hope that there will be more research and documentation of her wonderful work. Porthault, Manuel Canovas, Paule Marrot, and Emilio Pucci prints are wonderful and unmistakable, but nothing says,"Fun in Palm Beach," like Lilly Pulitzer.

For summer or resort, the perfect look for a woman is a Pulitzer skirt and a Lacoste polo shirt, or a simple Pulitzer print shift like Jacqueline Kennedy wore when in Florida (even to church!). For men, the equivalent look is Pulitzer print slacks with a Lacoste polo shirt, worn with or without a tropical weight navy blue blazer.

To commemorate the 50th anniversary of the founding of the label, there will be an exhibition the the Museum of Lifestyle & Fashion History in Palm Beach County from August 3, 2010 until May 31, 2011.

vintage Lilly Pulitzer garment labels

Photos by Square with Flair

http://www.mlfhmuseum.org/exhibitionschedule/upcomingexhibits.html

A Sleeping Beauty Ballroom in the Heart of Old Toronto

2010-05-30T16:35:00.021-04:00

the spectacular 20 foot windows of the Crystal Ballroom

In a thriving metropolis, an exquisite hotel ballroom lies unused and decayed like the palace of Sleeping Beauty. The huge room sits on the 19th floor of the King Edward Hotel on King Street East in downtown Toronto. The hotel was opened in 1903 and is an outstanding example of Edwardian Beaux Arts exuberance and style that is rich, but more restrained than the preceding Victorian style. Named the the Crystal Ballroom, it was added in 1922, two decades after the hotel was built, as the Jazz Age had begun. The style, which is derivative of the antique and classical, relates to styles is already established in the original hotel concept, however it is considerably subdued in expectation of the minimalist lines of Art Deco and Art Moderne.

For half a century, this room was the ultimate venue for weddings, receptions, grand parties and the most distinguished social events, but in the late 1970s, it seemed to go out of fashion with cotillions and debutante balls. A more casual lifestyle and less formality made it an anachronism. At that time, the King Eddy was very much down at the heels and in dire need of extensive renovation. It had ceased to be fashionable, and the rich and famous stayed at the Four Seasons in Yorkville, the Royal York, or the new Harbour Castle Hilton on the lake.

I had the pleasure of viewing the room for the highly successful Doors Open Toronto event on the weekend of May 29th & 30th, 2010. During this weekend, many of the city’s architectural wonders are opened to the public. The King Edward Hotel’s Crystal Ballroom was visited by large numbers, and queues stretched all the way around the hotel block. Upon arrival to the ballroom, one was struck by the immensity of the space, the incredible expanses of windows for any room, let alone one that is over a century old, the spectacular view and position, and the picturesque state of neglect in contrast to the rest of the impeccably restored luxury hotel. Musicians from Tafelmusic played in the generous room, and the combination of beautiful music and remarkable architecture made for a memorable experience.

The architectural embellishments of the Crystal Ballroom, including cornices, raised panels, pilasters, door pediments, and capitals, are blurred by decades of thick, oil based enamel. Many elements are broken or missing, and paint is peeling and flaking. Utilitarian wires and electrical cables are exposed and cross the fine architectural appointments. Nonetheless one can see that there is more than enough to make restoration worthwhile and successful. Most hotel ballrooms, even those in the greatest hotels, are windowless. This expansive room has incredible 20 ft windows with sweeping skyline views to the south, east and west. Immediately after viewing the room, visitors had the opportunity to view the currently used, much smaller Sovereign Ballroom on the second floor. With new carpets or parquet, replaced chandeliers, repaired plasterwork, and modern ventilation, the contrast between the restored and the unrestored is startling and gives an idea of how extraordinarily special and beautiful the restored Crystal Ballroom could be.

The King Edward Hotel is one of the unappreciated gems of Toronto architecture. Like the grand, turn of the last century Ritz Hotels in London, Madrid, and Montreal, or the Park Plaza in New York, the quality and fine architectural detailing demonstrate materials and the highly specialized skills of master carpenters, plasterers, tile setters, masons, glaziers, and decorative painters, that are prohibitively expensive today.

Without doubt, Doors Open Toronto brings an increased awareness of this Sleeping Beauty, and the lovers of heritage buildings look forward to the crown jewel of an architectural masterpiece being available to the public once again.

http://www.toronto.ca/doorsopen/

http://www.tafelmusik.org/concerts/index.htm

http://www.starwoodhotels.com/lemeridien/property/overview/index.html?propertyID=1912

the bronze plaque placed at the entrance by the Ontario Heritage Foundation

the elegant entrance of the venerable King Edward Hotel in Toronto

the spectacular central vault of the 2nd floor Sovereign Ballroom

the gifted musicians from Tafelmusik added ambiance and charm to the elegant room

carved limestone architectural niche and coat of arms flanking front entrance of the King Edward Hotel

exterior of King Edward Hotel showing richly carved limestone Beaux Artes detailing, corner quoins, cornices, brackets, cartouches, and scrolls

gracefully curved corner of the facade of the King Edward Hotel

the wonderfully airy and spacious central skylit second floor arcade and lobby of the hotel

variation of an Ionic capital showing the extensive use of the beige "Perlato Sicilia" marble throughout the hotel; most of it is real marble, some is painted faux marbre, some is in scagliola

integrated ventilation grill designed as an architectural overdoor in the Crystal Ballroom

the stripped down, unrestored Crystal Ballroom of the King Edward Hotel in Toronto; note the exceptionally high windows

one of three ceiling medallions which mark the location where huge crystal chandeliers formerly hung in the Crystal Ballroom

the smaller, restored, currently used 2nd floor Sovereign Ballroom of the King Edward Hotel

detail of Crystal Ballroom wall panelling, pilasters, cornices and damage

detail of the capital of a pilaster in the Crystal Ballroom; note the layers of enamel clogging fine details of wood and plasterwork

Georgian inspired overdoor scrolls of the 1922 Crystal Ballroom

Happy 15th Birthday, Bata!

2010-05-13T20:50:00.018-04:00

the beautiful Bata Museum insignia, deeply etched on the curved glass surround of the front revolving door

the museum's bold, classic logo in a style reminiscent of early 20th century graphics
Raymond Moriyama's award winning design for the Bata Shoe Museum in Toronto, Canada

Happy 15th Birthday, Bata!

This May, the Bata Shoe Museum of Toronto was officially 15 years old. It was 5 years in the planning, and after several difficulties and delays, it was opened on May 6, 1995.

The Bata is one of the most important shoe museums in the world, and it is a cultural treasure for Toronto. Some of their wonderful surplus has gone to other venerable and prestigious museums such as the Victoria and Albert.

The Bata is in a choice location on the southwest corner of Boor and St. George, surrounded by other buildings of interesting architecture such as the York Club, and the neoclassical style medical arts building across the street from it. Accessible by subway, it is near the ROM and the Gardiner Ceramics Museum, Yorkville, and it absorbs some of the atmosphere of academia where it is convenient for researchers from nearby University of Toronto.

the stately, richly detailed, late 19th century York Club, on the north east corner, opposite the Bata Museum

the Bata Museum seen from the manicured lawns of the historic York Club

Mrs. Bata’s attention to detail is evident in the superb custom bronze door handle medallions used on entrance and gallery doors, the reverse relief/ intaglio shoe carved in the stone facing beside the front entrance, the interesting prismatic glass appliqué on 42 foot high soaring the central hall window by Lutz Haufschild, and copper cladding on the jutting front entrance. These details go far to lend nobility, humanity, and elegance to the modern architecture and give the museum the aspect of a continental boutique museum. Mrs. Bata's European heritage has given her an acute awareness and appreciation for the craftsmanship of special artisans and ateliers.

the reverse-relief, carved. stylised shoe design and patinated bronze lettering beside the front entrance

a circa 1730 tin glaze blue delft decorative shoe from Holland painted with tulips detail of the hall window showing coloured glass appliques, reminds one of Matisse paper cut outs

shapes suggest pieces of cut out leather before a shoe is assembled
the applied, diagonally set flat prisms of the 42ft hall window softly screen out neighbouring buildings

detail of precision custom welding in the angled windows of the front entrance

the dramatically angled front entrance on the south side of Bloor Street

f ront entrance seen from the light flooded vestibule

front entrance facing west on Bloor Street

f ront vestibule area with detail of plate glass railings that contribute to a bright, spacious feeling

Recently, I enjoyed viewing a very interesting interview by George Stroumboulopoulos on CBC's "The Hour", December 3, 2008. He asked the charming Mrs. Bata about starting the museum and if her family considered it a bad idea. Mrs. Bata said that her son in particular considered a museum a big liability, and when she said she agreed, she laughed light-heartedly. The tone of her voice made it apparent that it was a labour of love that had brought her great personal satisfaction. In the interview, when asked about how the museum collection began she said,

“It started because when I got married I wanted to be an architect and then my husband really wanted me as a member of the team, and as I like design, I started working with collections, and merchandising. We were expanding into Africa and the far East and Latin America. I was very curious to find out what type of shoes do people really wear in these countries, what’s the traditional footwear like, and so it was really a market research collection. This is how it started. And then there were other reasons why I started being really involved in the subject of putting this collection together. I noticed that the indigenous footwear was disappearing very quickly, and partly it was our fault because we were making cheap sneakers, and later on, plastic sandals. Plastic sandals wear forever, so they replaced the traditional footwear in these countries, which in many ways, it’s very sad. It is not only in the craft of shoe making, but for example in pottery seen in Mexican markets, or textiles with beautiful vegetable dyes. So I felt it would be interesting to somehow put down the history of the shoe making trades of all the different cultures be that China or India, Japan or wherever it was, and form the museum. From the museum we fund field trips to various parts of the world. We have somebody now in Mongolia trying to get some of the ancient footwear or the traditionally made footwear.”

http://www.cbc.ca/video/#/Shows/The_Hour/Full_Episodes/Season_5/ID=1237058429

from Lapland, sealskin boots with colourful detailing
boldly colourful beaded plains Indian moccasins

Canadian Indian (Cree) moccasin boots with unique Moose hair tufting
late 20th century urban sophistication in the iconic horse bit Gucci loafers
extremely fine glass beading on Amerindian moccasins

I asked Mrs. Bata if any of her own personal shoes are in the collection. She said the only pair the museum has is the pair that she wore to the museum opening exactly 15 years ago this May. She laughed as she suggested that her feet were "big" and not really right for the museum!

On this 15th anniversary of the Bata Museum, we can be grateful that Mrs. Bata has done so much to make Toronto the cosmopolitan and interesting city it is in 2010. Many, many thanks Mrs. Bata!

detail of shard-like, flat, cut prisms applied to the front hall window recall the angular planes of the facade
detail from a 16th or 17th century spurred boot from the bronze door handle reliefs of the Bata Museum

All shoes from the Bata Shoe Museum collection, Toronto.

Consider the Lilies-of-the-Valley

2010-04-30T18:14:00.020-04:00

Spring 1992 Gianfranco Ferré for Christian Dior, oversize 9" corsage/pin spray of silk lilies-of-the-valley from Paris made by the Lemarié atelier, purchased at Creed’s of Toronto

The First of May is an important day throughout Europe. In France, 'le premier Mai' is characterized by the centuries old custom of sidewalk vendors selling charming little bouquets of lilies-of-the-valley.

The earliest May Day festivities were pre-Christian, and related to Flora, the Roman goddess of flowers. Countless legends in many cultures, religions, and historic periods are based on the fanciful origins of lilies of the-valley, convallaria majalis. In Christian legends, it has been called, ‘Our Lady’s Tears.’ In Christian iconography, it is representative of modesty or humility. In the language of flowers it means good luck, and the return of happiness.

The lily-of-the-valley is an old fashioned flower seldomly encountered nowadays. In Victorian and Edwardian times one could buy it at florists. In France, it is still commonly sold at florists in May, but in North America, selections at flower shops are usually limited to tulips, roses, mums and the now ubiquitous potted phalaenopsis orchid.

At one time, 'muguet' was a common motif in the decorative arts, and was visible on textiles, metalwork, silverware,porcelain, postcards and jewellery. But for our brash, in-your-face, Lady Gaga times, it is just too shy, polite, retiring, and elegant.

If a personality could be matched to the flower, it might be Princess Grace of Monaco, who had a wedding bouquet of 'muguet de bonheur.' Throughout her lifetime, she was photographed many times holding a bouquet of lilies-of-the-valley, a flower she also writes of in her 1980 work, 'My Book of Flowers.' The lovely muguet is a flower that evokes English and European, rather than new world, legends and charm. wedding of Grace Kelly and Prince Rainier, Monaco in April, 1956, dress designed byMGM wardrobe designer Helen Rose early 1970s charity fundraising event; Princess Grace with a bouquet of muguet

Christian Dior, arguably the world’s most famous fashion designer, used the lily-of-the-valley as his emblem throughout his brief but meteoric career. Muguet de Bois was the inspiration of his spring 1954 collection and his masterpiece signature perfume, created by the Monet of perfume, Edmund Roudnistka. Still in production after more than 50 years, ‘Diorissimo,’ is an olfactory impression of this exquisite flower.

In early May, don’t overlook this delightful little plant. The season is very brief, and the flowers are discreet enough to be passed by. detail from a delightful screen printed vintage linen tablecloth by the venerable Avenue Montaigne house of D. Porthault

1970s Christian Dior bedding with "muguet' motif, licensed American product

detail of floral motif of above bedlinens by Christian Dior

the angelic Diorissimo lily-of-the-valley perfume; circa 1955 Christian Dior enamel brooch

Christian Dior hat, early 1960s, Ian Drummond Collection, Toront0
vintage Limoges porcelain by Christian Dior Paris

...the invasive, perennial lilies-of-the-valley in my garden, ready for their May performance…I overestimated and they’re everywhere…do you need a clump?

circa 1910 German made chromolithography postcards

lily-of-the-valley motif on a Lalique plate

images and text copyright of Square With Flair; photos of Grace Kelly from 'Her Serene Highness Princess Grace of Monaco' by Tevor Hall, Crown Publishing, 1983

Lucian Matis, the Hit of Toronto Fashion Week

2010-04-02T20:29:00.023-04:00

an enthusiastic Lucian Matis answers questions after his very well received collection

The hit of Toronto LG Fashionweek was unquestionably the Lucian Matis show on the afternoon of Thursday, April 1st. Lucian’s clothes and presentation were unique and beautiful.

The new Fashion week venue at the newly restored, historic Art Deco Automotive Building (now rebranded the Allstream Centre) on the grounds of the Canadian National Exhibition is very spacious and is ideal for fashion shows. The central location and a very generous lounge and bar area, spacious areas for hairdressing, makeup, wardrobe, dressing, media, interviews, socializing, and wide corridors make this facility much more suitable than previous locations.

feverish activity in the ranks of creative hair and make-up artists

The show began with the passionate singing of Rona Hartner accompanied by stirring violin that was layered with an urban beat. It set the distinctly east European mood before the models had emerged. The models were carefully selected for an eastern European look; they had Erno Laszlo complexions, high cheekbones, and strong noses. The hair was teased into large sculptural "buns" that were adorned with a black fabric headpiece that was neither bow nor hat, but a most creative and becoming creation somewhere between.

exquisite millinery reminiscent of a large, romantically wilted fleur-de-mal

The palette was disciplined and cohesive. Black featured prominently in the collection and was used mostly as accents in accessories, although a few outfits were entirely black. Black headdresses, eyes heavily accented with kohl, black jewellery, and most striking of all, long tight black gloves and equally tight black leggings gave a new and interesting aspect to dresses, coats, jackets and skirts. Colour schemes were: all black, black with gunmetal grey, black with gold, black with cream, all cream, or all grey. Matte, shiny, and textured materials brought interest to the richly detailed collection.

The inspiration for the collection was the folkloric looks of eastern Europe, specifically the designer's homeland, Romania. In historic collections of the past decades, both Coco Chanel and Yves Saint-Laurent showed east European peasant inspired collections, however Lucian’s look was sophisticated, modern, and avoided costume effects by the measured use of black, and unobtrusive touches of modernism such as shoulder and hip emphasis on some garments. The introductory clothes were those most clearly inspired by ethnic looks; later pieces were linked to the collection by the use of black and similarly styled and accessorized models.

two very different looks, both accessorized with black and a sophisticated demeanor

a signature look from the fashion show invitation; note the very unique "lantern" skirt

European charm meets 21st century urban sophistication

Jewellery added great distinction to the looks, especially the large pieces that were black jet, or with amber coloured stones, a look that is specifically identified with eastern European taste and style since antiquity. In true, classic couture taste, the jewellery pieces by the talented Karen McFarlane were massive and overscale, boldly making a statement in a way that precious jewellery often does not.

The audience viewing this collection was clearly impressed, and reactions were very favourable. As the audience exited the large hall, they seemed rather dazzled and overwhelmed by the beauty, and it seemed that one would experience culture shock by returning to reality. Conversations overheard after the show were nothing but praiseworthy.

classic black used in an original and new manner

How long Lucian will remain in Toronto before being lured to New York or Paris is uncertain, but you can be sure that he as achieved a level of taste, creativity, and technical skill that would permit one to utter his name in the same breath as Galliano or McQueen. Really, you had to be there.

A video of the Lucian Matis collection can be viewed at http://vimeo.com/10660422.

original prints, glamorous silhouettes, innovative cuts, folkloric inspiration, numerous accents of black

APRIL FOOD DAY The Word is Out

2010-03-30T18:23:00.005-04:00

If you can’t feed a hundred people, then feed just one.
Mother Teresa

Fellow bloggers Meg of Pigtown Design and Chris of Easy & Elegant Life have drawn my attention to the important food drive, April Food Day.

Use of food banks has risen sharply. Sadly, ever greater numbers are dependant on them. There has been an increase of food provided to 46 % more people since 2006. Feeding America provides food to 37 million Americans, and more than a third of those are children.

Studies show that up to 20% of food that North Americans purchase must be discarded because of waste, spoilage, or poor planning. As well, numerous recent articles in the media have spoken of the large, unnecessary increases in portion sizes over the last few decades. For the sake of those in need and for the environment, we can consider buying and eating less, and paying closer attention to what we are wasting. Consider this as the savings or “found food” you can donate to those who are in need. At the same time we will do a favour to the environment.

Saint Francis said, “It is in giving that we receive.” To help others is a wonderful thing, and I encourage you to donate to a food bank, either with food products, or of volunteer work which is desperately needed. As modern western society moves further away from organized religion, we are not always reminded to help others, and there are fewer times when we are given codes of ethics. I cannot recommend highly enough the value of taking one’s teenagers to help out with such projects as food banks and April Food Day. In so many ways, it will help to build a better future and a better society.

I wish to thank Easy & Elegant Life, Pigtown Design, and all the other thoughtful bloggers who have worked and taken time to draw attention to this very important initiative.

http://easyandelegantlife.com/

http://pigtown-design.blogspot.com/

For more information on different ways to help, please see:

Feeding America’s website: http://feedingamerica.org/default.aspx

The April Food Day blog: http://aprilfoodday.blogspot.com/

A Classical French Garden Pavillion of Your Very Own

2010-03-14T19:30:00.002-04:00

In my fantasy, I have an old chateau in the French countryside. It has a formal garden with meticulously clipped parterres punctuated with elegant dressed limestone pavilions, like the one Hubert de Givenchy has at his chateau. In reality, my garden is tiny, wedged in a densely populated part of central Toronto, Canada’s largest metropolis. But those gardens and romantic pavilions continue to pervade my dreams….

Orangery, Le Jonchet, The Givenchy Style, Rizzoli, 1998

Mt. Vernon Style Garden Pavilion, Le Jonchet, The Givenchy Style, Rizzoli, 1998

Tower pavilion of moat, Le Jonchet, The Givenchy Style, Rizzoli, 1998

Here is a pair I made of Bristol board with marker. They are approximately a foot (30cm) tall. Part of the charm comes from the sketchily rendered details. I like to think that one day, I will overlook a similar pavilion of honey coloured Caen stone, partially covered with coral roses, in the garden of my own French chateau.

Architectural inspiration for such a pavilion lantern can come from old architectural engravings. I was inspired by the classical black and white decoration of my Fornasetti porcelain. To make this, I drew it lightly with pencil, then overdrew with black permanent marker. I cut the windows out with an X-ACTO knife. The pavilion has 16 windows, each with 8 "panes", meaning that a pavilion required carefully cutting out 128 tiny squares. This was a time consuming process requiring some concentration, so be prepared to set aside a few hours before starting this little project.

Recent Fornasetti porcelain inspired by classical architecture, 2002

vintage Fornasetti porcelain inspired by classical architecture, circa 1960

Antique architectural models are elegant, and add distinction to an interior. Bill Blass had outstanding classical examples in his Manhattan apartment. These ones however, become enchanting lanterns when lit with a candle. Romantic and charming and elegant.... The shadows cast by the tall, mullioned windows conjure up images of Versailles par nuit.

Mysterious shadows are thrown by miniature mullioned windows.

Perhaps elegantly dressed courtiers will momentarily emerge....

Finials, urns, and a Roi Soleil motif add interest to the roofline.

And what could be better than an exquisitely scaled, finely appointed garden pavilion? Why a symmetrical, matched pair, in true 18th century French style, of course!

classical obelisks and corner quoins compliment the façades

aerial view with candles

Is there is there a bal masqué within?

Imagine the mysterious echo effect of voices and court shoes clicking on cobblestones while walking through this passage.

Poor, but Pretty in Pucci

2010-03-08T20:51:00.013-05:00

Pucci is one of the most iconic fashion looks of the mid to late 20th century. I remember one fashion expert saying that in the '60s, "If you weren't wearing Pucci, you didn't exist." To be in a Pucci dress was to be recognised as a member of the jet set, and those who were fashionable, modern, and had European sophistication. Pucci reached the height of popularity in the late '60s to early '70s when brilliance of colour and pattern could be seen on fashions for children, men, and women, as well as household products such as bedding, wallcoverings, upholstery and drapery fabrics. The most sophisticated patterns of this era were by Emilio Pucci of Florence. Women became weary of the brilliant looks in the mid '70s, and the immediately following trends played with Edwardian, Victorian, and romantic influences by Laura Ashley and Ralph Lauren. Within a decade, the futurism of Cardin, Gernreich, and Couregges was abandoned for high necked blouses, buttoned granny boots, and patchwork skirts that evoked the previous century. The most notable example of this was Lady Diana Spencer's 1981 neo-Victorian wedding dress, covered with lace, frills, and bows.

Diana Spencer's 1981 wedding dress in neo-Victorian style

The renaissance of Pucci started in the early '90s with women wearing vintage pieces. Around this time, books were published about Pucci, and this brought awareness and discovery to a new generation, who was smitten with Pucci's unique dolce vita modernism. Eventually the house itself increased advertising and production, and after an absence of two decades, Pucci was seen again in the most prestigious clothing stores

Iconic fashion like Pucci rarely goes on sale, and when it does, selections are very limited in terms of size, style, and colour. One will sees very expensive fashions on sale, but less frequently does one see fine classics like Chanel suits, Hermes handbags and scarves, Burburry trench coats, or classic Lacoste polo shirts, at reduced prices. That is why when they do go on sale, it is a good opportunity to buy, especially if you've always dreamed of one of these iconic pieces, but never been able to afford it.

Pucci blouses and dresses have been worn by the most fashionable women of the 20th century, including Audrey Hepburn, Catherine Deneuve, Marilyn Monroe, Marlene Dietrich, the Duchess of Windsor, Elizabeth Taylor, Helen Gurley Brown, and Paloma Picasso. A Pucci print is very sophisticated, and recognisable in the way that a painting by a good modern artist is. Pucci prints are bright and colourful, but upon examination, many of the colours are not so brilliant as they seem. The colours are so well coordinated and contrasted that they sing and vibrate. If you look at some of the colours in these Pucci prints in isolation, you'll see that many of the colours aren't nearly as electrifying as when they play off the other very carefully selected tones. The mixing of these colours is much more difficult than one can imagine. This is why most vintage psychedelic prints of the 1970s are brash and vulgar when contrasted with a Lilly Pulitzer, Porthault, Paule Marrot, or Pucci. In Pucci prints, each area of colour is delineated by a very fine black line. The small and very discreet signature "Emilio" is scattered throughout the print, so that one can discern if the pattern is authentic.

Just this week, I was surprised to come upon this rack of Puccis on sale at a major Canadian clothing discounter. There were blouses, dresses, pants in cotton and silk. Prices were half suggested retail, so that $600.00 blouses were $300.00. Considering that most fashion loses 90% of it's value when it leaves the store, these sale pieces are an excellent investment compared to most clothes. The $300.00 blouse will likely get you $100.00 to $200.00 if resold, whereas virtually any other clothing in that price range will bring nothing if resold.

Puccis are very noticeable, and some people think they are difficult to wear. This is not correct. The best way to wear them is as separates, so that for example, a blouse would be worn with slacks, jeans, or a skirt in a solid colour of one of the tones used in the print. A cotton Pucci print blouse and a pair of simple white jeans will take you almost anywhere this summer.

Fashion is often fickle and unpredictable. Avoid expensive fashion errors by sticking to time tested looks, and fashion can be much friendlier. Pucci is a dear friend one first met in the 1960s, and who is always cheerful and bright. Pucci is the perfect antidote to economic gloom and the predictable black that so many of us seem unable to shake off. In these times calling for extraordinary fiscal measures, one can still be pretty in Pucci.

Erzgebirge Flower Children From Germany

2010-03-05T20:01:00.016-05:00

A trio of flower children from the Erzgebirge

What could me more charming that the combination of children and flowers in spring?

From the Erzgebirge come delightful figurines of children holding single flower stems. The Erzgebirge is a tiny region of eastern Germany, bordering on Czechoslovakia. It is mountainous and for a time ore deposits supported the region. As the mining declined, cottage industries developed to replace it. Among the most famous are the folk art style wooden toys and religious figures, nutcrackers, and figurines the folk art style wooden nutcrackers, toys, and these captivating little figures, the so called blumenkinder. These are the type of old fashioned toys one sees in illustrated picture books of “The Night Before Christmas.”

Great attention is given to the hand painted details of Erzgebirge wares.

These wonderful little figures are of a naïve simplicity. They are made of wood and finished with fresh, high gloss enamels. The facial features are carefully painted in minute detail. As children became enamored with American style toys of plastic, and in the last decade, electronic games, these very simple toys have become increasingly out of fashion. For many adults however, Erzgebirge figures and toys are collected as reminders of simpler times. The figurines are somewhat expensive, and not easy to find. There are numerous shops in German towns and cities that have many visitors from abroad. They can also be found in German specialty shops and markets during Advent.

Snowdrop flower child from the Erzgebirge

Most people are likely more familiar with the products of the Erzgebirge in the form of the soldier doll nutcrackers seen in the Tchaikovsky ballet, and in illustrated children’s books. Both the flower children and the nutcrackers are now being very poorly reproduced in China, and care should be taken so that one buys originals. While new figurines are expensive, Erzgebirge can be bought less expensively from reputable sellers on eBay.

They make wonderful gifts for gardeners, horticulturalists, or those who love flowers, especially if the figure selected holds a favourite flower or one of significance to the recipient. They are little bouquets that never wilt, and will remain long after a special occasion. In Germany, they are favourite gifts for this reason, and over the years I have been delighted whenever I received one on my birthday or at Christmas.

Miniature Erzgebirge angel musicians are very popular at Christmas.

The Erzgebirge flower children make a wonderful collectible. They hold their value if you ever decide to sell them. They take up very little space. A collection is easily liquidated or amended. They bring a touch of the garden indoors, and as our cities become more and more populated, they are a reminder of the simple beauty of small flowers, and the importance of preserving it for the younger generation today and of tomorrow.

This article is dedicated to the memory of Uta Wichmann (1935-2009), who first introduced me to these delightful figures, and treasured her collection of "blumenkinder" that over the decades were given with love by her husband, family and friends.

Inspired by Tim Burton’s Marvellous Magical Mushrooms

2010-03-02T13:22:00.006-05:00

Official Movie Poster for Tim Burton's Alice In Wonderland

Inspired by Tim Burton’s Marvellous Magical Mushrooms
Tripping through the Settings of his"Alice in Wonderland"

Viewing the ads and the trailer for Tim Burton's new Alice In Wonderland, I marveled at the gigantic mushrooms that were evident in many of the publicity shots. I recall as a teenager in the

1970s how mushroom motifs were so popular in design. They could be seen on shirts, jewelry, kitchen accessories, and such things. I’ve noted that the motif seems to be coming back, likely due to a certain nostalgia for the 70s, similar to the shades of avocado green and harvest gold that also appear to be making a revival.

But apart from the swinging pendulum of fashion, the mushroom speaks to our longing to be close to nature. Floral motifs are a constant in every country and historic period; we are drawn to their beauty. But mushrooms are more discreet and don’t always attract with brilliant colour. Living in a dense urban metropolis, I’ve always been enchanted by these emblems of the wild where there is no traffic, pollution, crowds, or noise. Years ago I began collecting small ceramic

mushrooms at flea markets. I later learned more about what I was collecting, and read the inscriptions on the bottom. They were made my the Lorenzen Studios in Nova Scotia. They are accurate, correct models of actual species of wild Canadian mushrooms. I am always intrigued by their esoteric Latin names. I recently learned that these are much sought after and that Dalhousie University has an extensive collection of these beautiful pieces. The largest collection is at the Nova Scotia Museum of Natural history which has 400 different models of the Lorenzen mushrooms. Lorenzen pieces are also at the Smithsonian Institute in Washington, the Museum of Civilization in Ottawa, and the University of Victoria.

Vintage 1960s Lorenzen ceramic mushrooms

Lorenzen ceramic mushrooms

http://biotype.biology.dal.ca/museum/CeramMushHist/cerMushNoFrame.html

If you are fascinated by the mysterious mushroom, one might find others in the flea market:

Vintage Erzgebirge wooden mushrooms

A vintage silk scarf with mushroom motifs

Detail from a pair of 1970s embroidered Levi jeans

Of course, the motif doesn’t have to be hippy with funny funghi. Fine 18th century botanical paintings and engravings are brought to mind in these modern reproductions of the Flora Danica porcelain service by Royal Copenhagen, a service that was intended as a gift to Catherine the Great of Russia:

Next time mushrooms sprout on your lawn, take one and examine it very closely, and imagine you have become very tiny like Alice, and have your own Burtonesque view of the marvelous mushroom.

Vintage circa 1960s ceramic mushrooms, Lorenzen. Frog figurine, Nymphenburg Porcelain.

http://www.virtualmuseum.ca/Exhibitions/Mushroom/English/Models/models.html

Flora Danica fungi plate, Royal Copenhagen, http://www.royalcopenhagen.com/Dinnerware/Flora-Danica-Fungi.aspx

Return of the Maple Leaf Tartan

2010-03-01T18:43:00.029-05:00

Maple Leaf Tartan wool tie MacCleod's, jacket by Brooks Brothers

On the evening of Sunday, February 28, after a triumphant but emotionally exhausting hockey game, Canada watched the lavish and creatively produced closing ceremonies of the Winter Olympics in Vancouver. These were the most extensively watched Olympics in history, and viewers were given an abundance of sensational images to remember.

The most ambitious and lavish musical production number had Michael Bublé in trim retro-lounge style shawl collar tuxedo similar to what Guy Lombardo wore in the 1960s, and statuesque female Mounties singing and dancing around him. This morphed into an extravaganza with gigantic 24 ft beavers and even taller board game lithographed metal style hockey players and intentionally kitschy souvenir style Mounty statues. The maple leaf chorines looked oh so Canadian, with overtones of Vegas and Mardi Gras for festivity and fun. A detail I noted in some outfits was use of the seldom seen Maple Leaf Tartan. The maple leaf dancing girls wore short kilts of this iconic plaid while the band accompanying Michael Bublé wore 60s style tuxedos of Maple Leaf Tartan with green satin buttons and shawl lapels. After years of not seeing it worn, it is wonderful to see garments in this patriotic cloth, a bit like reconnecting with a long lost, dear old friend.

Guy Lombardo wearing a tuxedo in the Maple Leaf Tartan

Around the time we got a new flag, 45 years ago this February, there was a wave of patriotic feeling as Canadians started to prepare for Montreal’s Expo 67 and Centennial celebrations across the country. In 1964, the new Maple Leaf Tartan was created by David Weiser to commemorate the new Canadian flag. While each province and territory has an individual tartan, the Maple Leaf Tartan is the only one representative of Canada. It is also used by the pipes and drums of the Royal Canadian Regiment.

Courtesy of National Defense

The four colours reflect the colours of the maple leaf as it changes through the seasons; green in spring, burnished gold in the early fall, deep red as temperatures drop, and brown after falling. The colours are distinctively rich and somewhat muted. The harmonious shades are considerably less strident than many modern tartans, but not quite as retiring as antique tartans made with vegetable dyes.

Maple leaf tartan, designed by David Weiser, 1963

During the 1960s clothing in the Maple Leaf Tartan was available for women, men and children. This clothing was widely promoted in Canadian department stores such as Eaton’s and Simpson’s. In this tartan there were also other products such as fine English fine bone china with a border of the pattern, and dolls dressed wearing outfits of it.

Currently, vintage pieces such as kilts, vests, narrow neckties, and sport coats are not that difficult to find, but after collecting vintage clothing for 20 years, I can see that there are fewer and fewer pieces of it available.

vintage Viyella shirt in the Maple Leaf Tartan

If you are interested in garments of the beautiful Maple Leaf Tartan, they aren’t available in department store as they were in the 1960s or even into the late 1970s. The best place to find fabric, scarves, kilts, neckties and other accessories of this relatively obscure tartan is at Scottish shops. I got mine at MacCleod’s Scottish Shop in Stratford, Ontario. Prices were reasonable and they were very helpful, courteous and prompt with ordering by e-mail.

http://www.kilts.biz/

Tartan fabric by the meter, including the Maple Leaf Tartan can be purchased inexpensively at fabric stores in Canada, such as Fabricland (170 stores across Canada), during the fall/winter season. Tartan fabrics in different fibers, synthetic, cotton, wool, and wool blends, are available at different price points and depending on what the material is to be used for.

The costume stylists and designers of the Olympic ceremonies are to be commended for reviving this iconic piece of Canadiana and including it in the memorable closing presentation. It couldn’t have been better and it couldn’t have been more Canadian. May it inspire greater love of country and encourage us to proudly wear Canadian symbols like the Maple Leaf Tartan.

Maple Leaf Tartan on the cover of the Toronto Star Magazine, March 6, 1965

Chanel Jewelry for a Song

2010-02-26T23:34:00.017-05:00

Vintage signed Chanel costume jewellery circa 1985-2000.

Assorted vintage pieces of jewelry in the Rue Cambon style.

Chanel jewelry is highly collectable. Since the Chanel Boutique line was launched in 1983, Chanel jewelry has been fashionable and held resale value better than most other designer jewelry. While the most coveted pieces of Chanel jewelry are those from the 1950s and 1960s when Chanel herself still the designer, pieces from the 1980s to the present have a look and presence that most other brands lack. Second hand Chanel jewellery can be purchased at better re-sale shops consignment stores for less than half of what the original cost would have been.

When Chanel jewelry is good, it is very good, however a limited number of pieces exhibit manufacturing flaws and inferior quality. I’ve noted pieces with the “nacre” off the plastic pearls, and others where the gold plate bubbled and flaked off or wore off after minimal use. This is rather unfortunate considering that many pieces are in the $1500-$2000. range. In spite of this, most pieces are of fine quality, and the design and proportion make pieces from other designers and manufacturers look ill conceived, clumsy, and lacking style.

The Chanel look is unquestionably chic and desirable. The very high retail prices give it an additional aura of exclusivity. However, those women who have Chanel taste but limited budgets can conjure up the look if they really want to. Here’s the plan:

Haunt vintage stores, flea markets, and antique shows. Know the Chanel vocabulary. The vocabulary consists of: 1) pearls 2) gold chains 3) cabochon jewels 4) a heavier, more generous scale 5) pieces based on medieval or Baroque originals 6) camellias and gardenias 7) lion heads 8) lucky 4-leaf clovers 9)cross or quatrefoil motifs 10) wide cuffs 11) rustic and hammered finishes

Chanel lion left. Miriam Haskell right.

Anonymous clover pin left. Chanel clover pendant, circa 1990, right.

Chanel silk gardenia/camellia left. Vintage circa 1955 celluloid gardenia flower head brooch and ear clips,right.

Some people feel that the Chanel look must incorporate the double CC logo and are not accustomed to looking at Chanel designs without it. It really doesn’t have to have the logo. In fact Chanel herself rarely used it, and the way it is enlarged and plastered on so much today would likely be considered vulgar and undesirable by Chanel. So many of the CC logo bags seen on the street are counterfeits, so the prestige of the logo has become pretty diluted. Chanel wanted quality to speak quietly for itself, and luxury to be recognized by those with taste. She never felt that the Chanel presence had to shout. It was understated and discreet but still unmistakably Chanel. So if you follow the “vocabulaire” and find vintage examples, you will likely pay a minute fraction of the price of a signed designer piece, and the quality and look will be as good, if not surpass them. It is important to remember that design is more important than a brand name when you select a piece of jewellery or clothing.

If you don’t feel inclined to go on the treasure hunt that flea marketing often can be, stick to foolproof pearls. Artificial pearls of the Majorca, Miriam Haskell or Carolee brands are better quality and far less money. And you won’t have to worry if they’re ever lost, damaged, or stolen. In the most memorable photo portraits of Jacqueline Kennedy at the White House, she is wearing very inexpensive fake pearls. Considering that the French considered her the most elegant woman in the world, nobody should have a problem wearing faux. Save the money for tickets to the opera, a good piece of art, or your kid's education.

Hammered finish vintage faux topaz pin, unsigned.

Here are a few examples. Do you think these inexpensive thrift store finds look as good as the Chanel pieces?

Anonymous thrift store jewellery in Rue Cambon style.

Photographs and text copyright of Square with Flair™

Happy Birthday Hubert de Givenchy!

2010-02-20T10:53:00.023-05:00

Happy Birthday to the artist-ocratic Hubert de Givenchy!

In a 1998 interview with Charlie Rose, Hubert de Givenchy said, “Current fashion is ugly,” and went on to specifically mention heavy shoes, an excess of black, and the importance of being clean, suggesting that some people appear to need a bath. For a man who created such beauty, the hard edges and negative aspect of much street inspired, rock and roll fashion of today must be an anathema.

This unassuming but courtly gentleman who was born in Beauvais, France, turned 83 this February.

Givenchy retired in 1995, and was succeeded by a then unpolished John Galliano and a creative but shockingly edgy Alexander McQueen. This drastic change in artistic direction caught the French establishment off guard. It was somewhat like being forced to listen to the Sex Pistols when your favourite music is Mozart. Who can understand the logic of those who want to re-brand venerable houses in a way that makes them unrecognizable and does not acknowledge their rich, historic, and creative past? Change can be refreshing and positive, but obliterating the past is reminiscent of dictatorships. Perhaps in the future we can look forward to some creative re-interpretations of classic Givenchy designs, much the way that current designers have done at Balenciaga, Chanel, Hermes, and Dior.

While many designers have fashions that shout defiantly, Givenchy’s designs spoke gently, clearly and succinctly. He was a disciple of Balenciaga, and that pure, rigorous aesthetic was evident in his designs. The clothes were comfortable, but not loose. They suggested the contours of a woman’s body, but were never tight, clingy or vulgar. Prominent patrons of Givenchy couture were Audrey Hepburn, Bunny Mellon, the Duchess of Windsor, Mona Bismarck, Jacqueline Kennedy, and Jayne Wrightsman. Audrey Hepburn said that her friend Hubert’s clothes were a form of protection for her. Looking at a vintage Givenchy dress today does not convey the sense of beauty with which it was originally presented or seen. Many simple evening dresses were designed with restraint to set off important jewels clients owned. Formal gowns that are without sleeves would have been worn with long gloves, giving a less exposed look than is apparent. Day outfits were often punctuated with inventive hats, highly original and creative sculptures in their own right. In Breakfast at Tiffany’s, look at Audrey Hepburn’s little black day dress that she wears with a wide brimmed hat and long organza band to understand how millinery was crucial to the total concept. Many fabrics that have large scale prints, or elaborate surface decoration and embroideries, were put on garments with very simple, uninterrupted lines in order to show the superb design, pattern, and quality of the material.

As a great connoisseur of the arts, Givenchy has collected superlative 20th century art by Giacometti (some of it specially commissioned) and other modern masters, but also collected the most magnificent 18th century furniture and decorative arts. With his infallible, acutely trained eye, his understanding of volume, proportion, colour and balance was skillfully exploited in his fashion designs. While every designer is best known for grandiose evening gowns, and Givenchy did those to perfection, his day clothes were also outstanding. His coats and suits were finely tailored and flattering, and more designers today need to devote more attention to day wear, as Givenchy did.

Wool day suit jacket with "Matisse" motifs, 1992

For a good snapshot of Givenchy designs, look at Audrey Hepburn in Breakfast at Tiffany’s. Givenchy’s flawless designs can be seen in cocktail dresses, evening gowns, day coats, and gorgeous hats that enhance ensembles. Incredibly, Edith Head won the Oscar award for best costume in Roman Holiday and in Sabrina, when Givenchy should have been recognized. I’ve written to the Academy of Motion Pictures more than once with regard to this oversight.

There are far fewer books on Givenchy than on Chanel or Dior, and this seems to add to his mystique. The ones that are available really don’t use illustrative examples of his designs to show any chronological progression for the more than four successive decades, and that is a shame, because the collections are sublime.

I’ve seen a few pieces from one of his spring/summer 1992 couture collection, with silk and wool patchwork and applique inspired by Matisse paper cut-outs, and they are incredibly beautiful. “Beautiful,” and “pretty” are words that one rarely hears in fashion anymore. Wouldn’t most women out of their teenage years rather be “beautiful” than “edgy.”? Certainly, if they are dressing for themselves or for men, beautiful is better, and Givenchy and his exclusive clientele thought so too.

Silk day dress with "Matisse" foliate motifs, spring'/summer 1992

Detail of silk floral embroidery on dress Jacqueline Kennedy wore to Versailles, 1961.

Hubert de Givenchy fashions are wonderful to wear. They are comfortable, flattering, elegant, modest, and never make the wearer feel conspicuous. They strike the perfect balance of simplicity and style, without being minimalist or dull. His "look" could be described as mid century, modern Paris, and that is a style that is now classic and eternally flattering. Consider the images of Audrey Hepburn and all will be understood.

For an interesting but rare glimpse of the aristocratic and discreet Hubert de Givenchy, see this 1998 Charlie Rose interview:

http://www.charlierose.com/view/interview/4633

Apart from the unforgettable photographic and motion picture images, and existing archival garments that Hepburn wore, all a result of the Hepburn/ Givenchy alliance, the most wonderful thing of all is the legacy of philanthropy, and heightened awareness of the work of UNICEF that endures as testimony to Hepburn’s sensitivity and generosity, the aura within that made her all the more compelling on screen and in person. Givenchy, with his innate understanding of beauty, enhanced this and made it all the more apparent.

In the last decade, Givenchy has used his talent for philanthropic projects such as museum exhibits he has helped to organize, and restoration of the vegetable/ kitchen garden at Versailles. He has donated garments to be auctioned for charitable causes, and it was a delight to know that the proceeds of the extremely high realized prices were going to benefit the underprivileged and needy.

Garden motifs, spring 1961 Jackie's Givenchy Versailles dress

I doubt Givenchy misses the pressure of having to present new collections to legions of journalists looking for sensational changes to report. For Givenchy who loves gardens, plants and flowers so passionately, such philanthropy must be a most rewarding contribution to the disciplines of History, Horticulture and design, not to mention important social causes.

Thank you Monsieur Givenchy, and many happy returns!

Photos of white evening gown from "JACQUELINE KENNEDY; THE WHITE HOUSE YEARS Selections from the John F. Kennedy Library and Museum, Bulfinch Press/ Little, Brown and Co., 2001.

© 2010 Square With Flair™

Canadian Flag Day, 2010

2010-02-15T11:15:00.006-05:00

Today, February 15, 2010, the distinctive Canadian flag is 45 years old. As it was first raised on the Peace Tower of the Parliament buildings, the Royal anthem, God Save the Queen and the national anthem O, Canada were played. While at first it looked new, and lacking in heritage and historical significance, almost half a century it has grown on us. In terms of design, it is much bolder, more graphic, and clearly visible in a way that the Red ensign with a miniature Union Jack and a detailed coat of arms was not. The old Red Ensign and the Union Flag, or Union Jack, are still considered official flags and it is correct to fly them. In the last few years, Canadians have become much more patriotic, and this is a wonderful thing to see. Canada is the land of abundance, peace and opportunity. We have one of the highest standards of living in the world. As the world looks upon us during these exciting Winter Olympics, show your love of country and display a crisp new flag. Happy Flag Day 2010!