Consider the Lilies-of-the-Valley

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

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

text and photos © 2010 Square With Flair™

APRIL FOOD DAY The Word is Out

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

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.

© 2010 Square With Flair™

Poor, but Pretty in Pucci

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.

© 2010 Square With Flair™