A Balenciaga Masterpiece in Toronto

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

BALENCIAGA in MANHATTAN, BALENCIAGA in the NEWS

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

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

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

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

Happy Birthday Hubert de Givenchy!

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.

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