Rosie Scott Blog about Women

As ‘War and Peace’ highlights the sunshine shade, Stephanie Smith urges all to get stylish in yellow for charity next month.

It was the yellow dress that did it. In War and Peace, when Prince Andrei Bolkonsky first catches sight of young Natasha Rostova, she is gadding about in a field wearing a yellow dress.

It’s a colour that symbolises her lightness of spirit, the sunshine and charm that captivates everyone she meets. The spectacular new BBC production by Andrew Davies follows Tolstoy in giving Natasha, played by Lily James, a pretty yellow dress although, apparently, it is several years after that first glimpse that they meet again and fall in love at a ball, and Natasha is 12 or 13 at the start of the epic tale. Actually, I can’t swear to any of this, as War and Peace the novel is next on my reading list, but that’s what aficionados tell me. Anyway, whatever the liberties taken with Tolstoy’s timeline, both the yellow dress scene and the ball scene had viewers utterly transfixed the Sunday before last.

Yellow was already a hot catwalk trend for spring/summer ’16, and 
the Natasha effect can only ensure that the sunshine shade sets the whole season alight with interpretations ranging from pale lemon through sunset tones to rich ochre.

Hermes came up with cropped drawstring boiler suits in a strong yellow, Stella McCartney has fitted dresses in yellow mesh fabric, while Vivienne Westwood Red Label sent Elizabeth Jagger down the London Fashion Week runway in a pale yellow short silky bias-cut dress embellished with flowers, black spiders and bees.

Black is a canny way of breaking up yellow and bringing a graphic edge, stylish for this summer’s weddings and special events, so add black belts and jewellery to yellow dresses, or, for weekend wear, team a yellow top with black jeans.

All-over yellow is definitely a firm option but it’s as an accent or as a separate that it works particularly well. Look out for yellow shoes and especially yellow bags, to add a chic flash of sun to your look.

Yellow, notoriously, is a colour that can drain the wearer of any colour of their own, but that happens only if you choose the wrong shade, so experiment, preferably before you buy, and make sure you see what the shade looks like next to your skin in daylight. Be bold (or just choose a bag).

No excuse is necessary for wearing yellow this year, but if you do desire an extra push, there surely can be no better reason to get with the yellow than to show your support for Marie Curie’s Great Daffodil Appeal next month.

Marie Curie helps those living with a terminal illness, and their families, by delivering hands-on care, emotional support, research and guidance. The charity employs more than 2,700 nurses, doctors and other healthcare professionals and is the largest provider of hospice beds outside the NHS.

Volunteers are needed to come forward as soon as possible to collect donations and help turn the streets yellow this March by encouraging others to donate and wear a daffodil pin. The appeal has raised more than £73million since 1986. There are daffodil hats and yellow T-shirts, sweatshirts, tabards and ponchos, as well as the pins, with all proceeds going to help the charity.

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Lily James learned how to accessorise by helping put together her 'Downton Abbey' costumes.

The 26-year-old actress believes her style ''really changed'' while portraying Lady Rose Aldridge in the period drama because she began to understand what would make her outfits look even better by helping to put together her costumes.

She said: ''My style really changed because I understood accessorising, because every morning I'd go into my trailer and there'd be different necklaces and earrings and gloves and handbags, and depending on my outfit, I'd pick what I would wear with it.''

Though Lily is best known for her work in period productions, including her upcoming movie 'Pride and Prejudice and Zombies', she would love a modern classic wardrobe for her next role.

Asked what designers she'd like to wear in a movie, she told WWD: ''I go for the British designers. I love Burberry, I love Dior, Chanel. I guess it would depend what I was shooting.''

And when it comes to her off-duty style, the British beauty likes to borrow clothes from her boyfriend Matt Smith.

She said: ''I keep quite a low profile and I wear jeans and jumpers and Converse. I'm the girl that wears her boyfriend's jumpers most of the time.''

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Resort season is no longer a luxury reserved for the uber-rich.

These days, you can book an exotic vacation to a warm-weather destination without draining your savings account — with enough advance planning and the assistance of a few promo codes — which means you don’t have to have Trump-level earnings to escape the winter doldrums.

Whether the final destination is Maui, Majorca or even Madrid, if there is one thing every style-conscious traveller does before jetting off on a hot holiday it’s a little advance outfit planning. And often times, this planning leads to a little bit (or a lot) of resort-wear shopping.

So, what do you want to pack to ensure you’re at the fashion forefront (or is it beachfront?) in 2016? According to Michael Anderson, senior vice-president of women’s and men’s design at Banana Republic, it’s all about having fun with fashion.

“Warm or cold, seasonal style is about versatility and having fun with your wardrobe,” Anderson says. “The bright summer months give us even more license to play with richer textures, vibrant colours, prints and modern silhouettes.”

Anderson anticipates seeing resorts and beaches filled with stylish vacationers in an entire spectrum of blues — from light, summer sky-inspired shades to colours he calls, “electrifying.”

The American retailer’s latest collection is full of the azure hues — many of which were inspired by the North African country of Morocco.

“The region’s culture and natural wonders ignited the collection’s blend of vibrant colours, bold prints and strong silhouettes,” Anderson says. “The design team drew inspiration from handmade rugs exploding with saturated colours, and travelled camelback along the Berber Trail and palm groves to experience the many shades of a desert sunset before visiting the remote mountain village of Chefchaouen — painted entirely in an electrifying blue.”

The inspiration translates from sketch pads to standing racks in stores in the form of luxe, wide-legged trousers, delicate eyelet blouses and geometric details.

And the cultural inspiration doesn’t stop with the Banana Republic design team. It’s also what shoppers are looking to when choosing their vacation style, according to local retailers.

“Resort wear is not so much about lounging by the pool and hanging out on a yacht as it is about exploring, integrating into and experiencing different cultures,” Paul Giesbrecht, owner of the West Vancouver-based boutique Leslie Jane, says.

“Vancouverites … want garments made with integrity and suited to this ethos.”

His boutique has been a local destination for womenswear and accessories from Canadian and international designers including Manuelle Guibal from France, La Bottega di Brunella from Italy and Johnny Was from the U.S., for more than 38 years. Giesbrecht says shoppers regularly come in looking for pieces that have versatility.

“We find that Vancouverites are looking for resort wear that is unique, easy to wear and that can be worn in a variety of ways — on the beach, at the park, at celebrations such as weddings, as well as in their everyday lives,” he says. “ People are looking for investment pieces with versatility that can extend and incorporate into their existing wardrobes.”

According to Giesbrecht, the demand for multi-purpose pieces has less to do with packing space and more to do with economy.

“The frivolity of ‘glamorous’ resort wear is not so relevant in these times,” he says. “With baby boomers retiring and cheaper travel the norm resortwear is as much about fashion as it is about comfort and function.”

A good place to start when it comes to beach-appropriate pieces are dresses, which can be used just as easily for bathing suit coverups as daytime outfits.

“Dresses double as beach cover-ups by day, or effortless evening looks by night,” Anderson says. “Don’t forget to bring at least one statement piece that will stand out, such as sheer lace culottes that are instantly Instagram-able with a picturesque background.”

(Because if your vacation outfits aren’t shared on social media, did your holiday even happen at all?)

Perhaps the most photo-friendly resort wear (and the most on-trend) are ones with lots of colour. Skip the basic black or white pieces in favour of cool aqua, lovely lavenders, and juicy citrus hues including lime green and lemon yellow — and, of course, the aforementioned azure.

“Resort wear dressing is about hot weather garments and colours that are attractive in southern light,” Giesbrecht says. “ The colours are brighter (and) the styling is looser.”

Basically, stick the items in your suitcase that you’d feel a tad out of place wearing at home because they are too relaxed, colourful or cropped — ergo not at all safe for work.

When it comes to accessories, it’s all about the fringe.

“We love fringe on our accessories this season, especially in our heels and jewelry,” Anderson says. “We also had fun including cool and metallic tones, big blooms, and embellishment to our entire accessories line.”

For textiles, linen garments are always a safe choice for sunny holiday destinations, with styles ranging from dresses and wide-legged trousers, to slightly structured, more formal pieces.

“A linen blazer is my summer go-to for both ease and polish,” Anderson says.

Not a fan of linen? Consider a garment in another natural fibre such as cotton or silk for increased breathability on those sultry nights.

Whatever you do, don’t think a swimsuit and sandals will carry you (sartorially speaking) through your haute holiday.

According to Giesbrecht, when it comes to vacation dressing, you shouldn’t leave your style at home.

“It really varies depending on destination, but I think regardless of where people are heading they need something more than a bathing suit,” he says. “ I would tell people to consider what they are wearing over their bathing suits — to and from the pool — what they are wearing out to dinner, or when walking around the city or town.”

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Adele is reportedly planning to release a clothing line aimed at stylish but busy mothers.

The 'Hello' hitmaker, who has three-year-old son Angelo with her partner Simon Konecki, is reportedly keen to release a collection aimed at stylish but busy mothers later this year.

A source explained to Now magazine: ''It's still in the early stages, but she's been getting input from several designers and working on her own sketches.

''There will be a few signature pieces, like her favourite winter apparel, the poncho, but mostly it'll be mix-and-match day-wear in neutral tones.

''She's chosen really high-end, soft fabrics - the clothes are meant to be comfortable above everything else.''

And it seems the 27-year-old beauty may already have a stockist as plus-size brand Evans likes her sense of style.

Tom Doran of Evans added to the magazine: ''When we worked with designers Clements Ribeiro, they used designers tried and tested on Adele. Their high street collection for Evans included the Adele dress - inspired by the very outfit she wore [at the 2012 Grammys].''

Meanwhile, the superstar, who took a three-year hiatus, has a busy few years coming up as she will embark on a tour in support of '25' next year as well as start work on her next album following the success of her third studio collection.

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It's not quite rags to riches, but designers will attempt a leap from rags to recognition at this year's Runway Repurposed fashion show.

Designers of all ages will begin picking their rags Monday at the Howell Opera House. That also means potential audience members should get ready to reserve tickets to the Feb. 21 fashion show benefit, which draws an annual crowd of 500 or more.

"It's great how this has grown," said event organizer Mary Rettenmaier.

Now in its seventh year, Runway Repurposed moved last year to larger space, at Crystal Gardens banquet center in Genoa Township, and added a new category for avant garde fashion.

"We'd had designers asking about that for several years. So, we though we'd include it in the show," Rettenmaier said.

A fundraiser for the Livingston County Arts Council, which supports the Opera House, Runway Repurposed features categories for students as young as 8 as well as adults.

This year, prizes will be awarded for the first time to the top three finishers in each category: young beginner, student, beginner, adult beginner and advanced, as well as in the avant-garde category. Cash prizes of $500 for first place and $250 for second place will also be awarded in the advanced design category.

Central Michigan University is also joining this year show as the title sponsor.

The goal is to create eco-friendly fashion from donated, and discarded, items.

There will be a lot to choose from, at least for those who arrive early during the Monday-through-Wednesday signup sessions. Registration is $15 for students, $30 for adults. Cash, checks and credit cards are all accepted.

"We have a lot of really great items for this year's designers to use," Rettenmaier said. "But, of course, we're telling people to come Monday, if they can. The best items do go pretty quickly."

Sessions are 4-8 p.m. each day at the Opera House, 123 W. Grand River Ave. in downtown Howell.

Under a format similar to that of TV's "Project Runway," fashions are judged by a panel of hometown celebrities.

In addition to being eco-friendly, the competition is usually family-friendly. Designers often use family members and friends as models.

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Happy new year!

I don’t know about you, but if I never eat anything again, it’ll be too soon. Between the Armenian grilled-meat fest my parents ordered for Christmas, the pizza party I had for New Year’s, and the heaps of cookies, biscuits, and brownies currently piled up in my kitchen, I am in dire need of a starvation diet.

But I know myself, and diets (starvation or otherwise) aren’t my thing. My new year’s resolutions tend to be broad life goals: learn how to cook (a perennial to-do), read more novels, hike Mt. Baldy. Making a formal list is the only way I know to keep myself accountable.

Senior editor Jennifer Heebner recently wrote a blog post entitled “My 3 Wishes for Jewelers in 2016,” and it got me thinking: What would I resolve to do in 2016 if I were a jeweler? Here are the three things that would top my list.

1. Give Snapchat a go.

There’s a reason Snapchat is being called “the one to watch in 2016.” The photo- and video-sharing app is poised to eclipse Twitter as an advertising vehicle for marketers aiming to reach millennials—largely due to its sophisticated video offering. Now, I know that an app based on the concept of images and video clips that disappear shortly after they’ve been viewed is a little foreign to those of us born before 1980, but Facebook, Instagram, and Twitter all seemed fairly incomprehensible when they were introduced, too. The faster you download the app, the faster you can start familiarizing itself with how it works. Find your way to the Stories section and you’ll see how brands, from media giants such as Vice to civic enterprises such as the city of Los Angeles, are making use of Snapchat. And don’t be surprised to find yourself slipping down the homemade-video rabbit hole.

2. Invest in local designers with great stories.

At the core of every jewelry business lies great jewelry—one would think. But it’s easy to get complacent and stock the same ol’ classics and variations of the same ol’ trends. Every city has a contingent of local designers making cool, interesting jewelry. Take time to find them—at craft fairs, in fashion boutiques, on Snapchat!—and create a showcase in your store featuring local talent. I’m based in LA, where there’s no shortage of creative jewelers. If I had a retail store in town, I’d be knocking on the door of Daniela Villegas. Raised in Mexico City, the designer works out of a studio in Hollywood and creates fantastical, nature-inspired jewels that evoke her travels (a recent trip to Peru, for example) and transform creepy-crawly critters into gorgeous, gem-studded talismans (check out her awesome collection of scarab pieces). While we’re always being reminded to think globally, the world we actually encounter is, by definition, local. Take advantage of the riches in your own backyard and localize your business with fresh, young talent.

3. Attend at least two (better yet, three) face-to-face jewelry gatherings.

Okay, okay, I’ve talked about this one before. But I still believe it to be a critical factor in upping your retail game. Whether it’s an educational event such as the American Gem Society Conclave, coming to Washington, D.C., April 13–16, or a major buying show such as JCK Las Vegas, scheduled for June 3–6, make a point to get out of your store and meet like-minded retailers. You’ll find people struggling with the same challenges and increase your chances of finding clever ways to surmount them. In an era of digital relationships, nothing beats the power of meeting IRL (in real life).

If none of these resolutions resonates with you, then break out your notepad (or your Notes app) and think big:

Resolve to grow. What if you doubled your sales? How would your store change? What would you buy? Who would you hire to help you keep growing?

What if you could attract your dream customers on a daily basis? Who would they be? What would they like to see in your store?

What if you could travel anywhere to source your next big thing? Where would you go?

As Ramit Sethi of I Will Teach You to Be Rich fame says, “My point is, your growth is up to you. If you want to learn how to dress better, improve your sex life, make more money…whatever! But without stepping back and thinking about what you would want your life to be…how will you get there? Is it just answering 20 percent more emails? Somehow, I don’t think so.”

Amen!

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When Marilyn Monroe ordered pumps from Salvatore Ferragamo in the 1940s, she had a special request, the shoemaker’s grandson revealed. One heel was slightly higher than the other, enhancing her famed wiggle.

A new capsule collection for Salvatore Ferragamo by the luxury Colombian shoe designer Edgardo Osorio reaches back into the company archives to revisit Hollywood’s Golden era, when the young shoemaker from southern Italy built his business by making shoes for films and then winning over actors and actresses as customers to his Hollywood Boot Shop.

Ferragamo quickly became known as “shoemaker to the stars,” pioneering the powerful link between fashion and the booming film industry.

Those customers included Judy Garland, Mae West and Monroe, said Ferragamo’s grandson James, the brand’s accessory product director. He said Monroe bought the iconic pumps in the 1940s from a shop on Madison Avenue in New York City for $45 a pair, and has the receipt to prove it.

“The Marilyn Monroe walk required a modification to have that wiggle effect,” Ferragamo said, saying one heel was several millimeters higher than the other.

For the capsule collection released in time for the holiday season, Osorio, who started designing shoes at Ferragamo before launching his own Florence-based brand Aquazzura, created a contemporary Marilyn-inspired pump with sheer netted panels for a sexy reveal. He also referenced the famed 1938 Judy Garland “Rainbow” wedge with a steep stiletto heel and a feathery winged rainbow accent on the ankles.

“It is not literal at all,” said Massimiliano Giornetti, Ferragamo’s creative director. “At the same time, it has the same spirit and the same approach that Salvatore Ferragamo had for developing the wedge for Judy Garland.”

The collection was launched as part of the luxury brand’s 100-year anniversary celebration of Ferragamo’s connection with Hollywood and is meant to be the first of a series of capsule collections in other areas across the group from jewelry to women’s handbags and perhaps menswear, tapping young talent and encouraging experimentation.

While Salvatore Ferragamo imported to Hollywood some of southern Italy’s joyful colors and free spirit, Giornetti said Osorio’s collection aims to offer looks for women in different moments of the day, from ballet flats with the Ferragamo bow to gladiator sandals and glamorous booties.

The looks are sexy, with stiletto heels and straps that wrap up the calf, but are also meant to be comfortable, featuring lightweight materials like cork, and recalling some of Ferragamo’s most recognized style points, from stylized bows to polka dots.

“Edgardo shares with me and the Ferragamo family not only the same aesthetic principals, but also the same sort of lifestyle that is so important to Ferragamo’s very dynamic consumer, who is always looking for quality, beautiful Italian craftsmanship and I will also add, an ironic twist,” Giornetti said.

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Once associated with the old and the sedate, shawls are fast losing their aunty-only tag. Using the traditional block printing technique of West Bengal, designer Debarun Mukherjee has used it in varied ways to make shawls, which he describes as chador, cool this winter.

Rather than shrinking them in size so as to make them an attractive option to the capricious youth, Debarun – a specialist in pret– has augmented the length of shawls. Describing how it works for him, Debarun says, “I have increased the length so that the shawl or chador can be draped in no less than 15 different ways. And not just worn with kurtis and jeans. Interestingly, they can also be worn with beautiful ethnic wear like a sari and kurta like a one-side drape or even a dupatta.” So now you don’t have to leave your shawl in the car when moving into an outdoor party.

In Greek drape the shawl is draped around one shoulder and left loose from the same shoulder. “The traditional Greek drape looks very fashionable. In knotted shawl drape, the shawl is draped around the neck and loose knot is tied in front. In shoulder draped knotted shawl the shawl is loosely draped around the shoulder, with a loose knot at the waist line. Wrap around drape is the most common drape of a shawl, mostly for heavy winters. The shawl is taken around your body and draped on the upper part of your body. In hand draped shawl- the shawl is casually taken around the shoulder and one hand to make it look fashionable. In mid knot drape the shawl is draped in a way that the knot falls loose on the waist line,” says the designer. Explaining the rationale of using this traditional form of printing, untouched by modern development in print making, of his home State, the designer says he selected block printing because it is the most famous in this part of the country and as a designer he felt it was necessary to be given a form that makes it a buying option for the young generation which is busy experimenting with Indo-Western clothing.

“At a time when people are going in for digital, we have artisans in Bengal who still work on block printing. It has rough edgy finish; that makes it cool for the young. Moreover, block printing makes shawls look short.”

The unique selling proposition is that these shawls – usually worn over the shoulders or over the head – are unisex so they can be worn by a couple in divergent ways on multiple occasions. So the wearer does not feel uncomfortable that they look too effeminate or masculine. “These are unisex wraps, made of cotton viscose fabric. They do not recognise gender,” says Debarun, an alumnus of the London School of Fashion and Design.

Another advantage is that these shawls can be worn not only outdoors but also indoors like inside a cinema hall or mall as a style statement. Instead of using wool, the designer has gone in for heavy cotton which has been hand woven. The idea was to do something different than the usual Kashmiri shawls, Pashmina, worn mostly when it snows. “We have used heavy cotton to enable the wearer to use it in multiple weather conditions. He/she can wear this kind of shawl when a nice wintry breeze is blowing or it is awfully cold like in Delhi during January.”

'Shawl as a skirt'

Meanwhile, veteran Neeru Kumar – known for creating a new vocabulary in textile design by using indigenous material and traditional technique – is now in the process of showcasing shawls and jackets with age-old Kantha embroidery in a modern way. “This kind of embroidery is not done anymore.

These pieces are timeless and they are in hundred per cent cotton. Kantha embroidery is not about trendiness; it has everything to do with quality of the textiles and the skills of our artisans.”

Since the youth wants to go in for something exceedingly stylish which catches their fancy,

Neeru has made the shawls in a way that they can be draped in different ways. “Shawls can be worn like skirts. Multiple uses of shawls excite the youth to try them. So we have made them look modern with cuts, easy-to-wear with bright colours,” says Neeru, whose pieces would be on display in Nayaab, a three-day exhibition of textiles in the Capital’s The Lodhi.

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He’s considered the father of New York Fashion Week and custodian of American fashion history. Meet the formidable Stan Herman, former president of the CFDA, star designer of the Swinging Sixties, and Broadway singer, dancer, and actor by night (you couldn’t make it up). The Daily had the privilege of coming up close and personal with this national treasure, now a spritely 87, as part of the Fashion Icons with Fern Mallis series at 92Y.

On his first gig in fashion…

“My first job was with Fira Benenson who made very stiff-looking dresses that looked like wallpaper. Every day I had to run down 57th St. to 333 to get the chilled martini glasses with lemon ready for the countess [she was married to a Polish count] when she came home—she never offered me one.”

On sketching for Princess Grace…

“I sketched for Oleg [Cassini] during the mid-50s. He was a real ladies man and hardly ever came in. On his desk he had a picture of Princess Grace [Kelly], who he was having an affair with, on the left a pic of his wife Gene Tierney. I’d sketch and say, ‘this is for you Grace, this is for you Gene.'”

On the young Marc Jacobs…

“Marc got his first job in fashion with me at 16. I was hiring young kids from the school for—what is it called when you don’t pay them?—internships. But one kid started to fall in love with me so I said, no more they’re too young. Then they sent this group and Marc was one of them and when I saw his sketches, I changed my policy. The talent was there then.”

On a naked Lauren Hutton…

“I had a studio at Bryant Park at 80 West 40th, which is a landmark building you should walk past. Everyone came to that building, including Irving Penn and Lauren Hutton, who walked in and said ‘Boy, was I naked in this studio.'”

On who founded American fashion…

“Anne Klein was the woman who started American fashion as we know it. At the time Anne and I were the hot designers—she didn’t do the most exciting fashion, but she had the most exciting concept. Anne could clink scotch with me better than anyone. Every night we’d drink together at Bills and talk about fashion and the world and one night she looked at me and said: ‘I’ve got it. I know what to do. I’m going to do parts and pieces. Women don’t want to wear dresses, they want to wear tops and bottoms and in different sizes and every season the colors will co-ordinate.'”

On [almost] going into business with Ralph Lauren…

“Someone suggested I meet Ralph and I thought, ‘what do I need him for?’ I was so full of myself. I went to meet Ralph and he was wearing his undershirt. I thought he was going to put his jacket on but we went for lunch and I thought, what the hell am I wearing a tie for? Ralph always knew what he was doing. He showed me his clothes. They were so beautiful, the prints and colors, but they were clunky looking.”

On founding Fashion for AIDS…

“It was November 1990 and our industry was hit really hard. Everyone wanted to do something but we couldn’t agree what. In the end we founded the CFDA Vogue Initiative for HIV and AIDS with Anna Wintour. When we did our first benefit and had no idea what a big deal it was going to be, we raised $5 million and didn’t know what to do with it.”

On dancing with Princess Diana…

“I was at this big CFDA Awards gala at Lincoln Center and they were all there: Yves Saint Laurent, Donna Karan, Audrey Hepburn, Gianni Versace, and Princess Diana, who was presenting an award to Liz Tilberis [former editor in chief of Harper’s Bazaar who died of ovarian cancer] who was the most beloved woman. Susanne Bartsch was the host and we were all there dancing up a storm, and Susanne says, ‘Dip me,’ and I said, ‘Are you crazy? I’ll drop you.’ So I dipped her and I dropped her and Bill Cunningham took a picture and it made its way onto the Society Pages of the Times. On Monday I got a call from Donald Trump, and he said, ‘Stan, how was it being on top of Princess Di?’ I said, ‘It was Bartsch, not the Princess.'”

On Trump’s attempts to take over Fashion Week…

“Mr. Trump was always offering space. We were very polite and enjoyed the negotiations but always said I don’t think our industry wants to go to Trump Pavilion or Trump anything. One night he took me up to a penthouse that wasn’t even finished and said ‘Stan, I’ll give you the whole park.’”

On the CFDA, now and then…

“When the CFDA was looking for a president I was told I wasn’t to the manor-born, but then Fern [Mallis, who served as executive director of the CFDA] got the job I thought, I am in with a chance. [Ed note: Herman was president from 1992 – 2006.] It was an extraordinary time. My partner, Gene, died, so the CFDA became my lover and we started 7th on Sixth [now known as New York Fashion Week]. But we were small and beginning to lose money, and as president I knew if we didn’t sell it we’d be in deep shit. So we spoke with Chuck [Bennett the CEO of IMG, who acquired New York Fashion Week in 2001]. He said, ‘How much do you want for it?’ And we sold it. When the time came for me to leave—I wasn’t sure it was time but everyone thought it—and we were choosing a new president, I made a lot of strategic phone calls. If we built the pedestal Dianne [von Furstenberg, who succeeded Herman as president, a title she held for a decade before being named chairman] took the CFDA to the next generation and beyond.

On the future of fashion and fashion week…

I hope the Hudson Yards will become the one venue and heart of Fashion Week. I have sympathy and pity for new designers as the business is so sharp-edged, and when you become successful so quickly I don’t believe you can develop. I spent years as a second, third, and fourth designer. If you can nurture the creative spirit in fashion instead of force-feeding, that will define the direction. You must also have an alter ego, someone that takes the business off what you do. I might have been the biggest thing ever if I’d had that. Power is the big name of the 21st century. If you have power, things work for you.”

On his favorite design…

“At Mr Mort [Ed note: The Stan Herman for Mr Mort collection enjoyed 10 years at the height of fashion in the Sixties] I was known for pleats, but the dress that haunts me is a brown linen wrap dress that I cut on the bias. It was the best dress I ever did…it sold and sold.”

On designing for Henri Bendel…

“Geraldine [Stutz, who transformed Henri Bendel into a high-end fashion store and helmed it for 29 years] loved my clothes and approached me to create a collection that was produced by Bendel’s, which sold so well. I found out later they were selling to all the hookers on 57th Street.”

On switching from ready to wear to uniforms…

“In the early ’70s I got a call from the president of Avis who wanted a new uniform and I thought, what a fun idea. They were red from head to toe…could anything be worse? I put them in red and gray, and everyone thought I was a genius. I remember designing a uniform for TWA and we created this stripe that was light beige on dark beige that was meant to look like haberdashery and spelt out TWA over and over. We printed 36,000 yards and when we got them back they hadn’t left a space between the A and the T.”

On becoming a QVC star…

“I was back door fashion, doing lounge wear and uniforms, and someone said, there’s a lot of women that stay at home and watch TV and wear their bathrobes. So I went down to QVC and fell in love. When I first started I sold 100 pieces a day. Now on prime time I sell 20 to 25K a minute. Oh, and I love the camera.”

On preserving the history of American fashion…

“I go to the CFDA to talk to the new designers about the history, because if you are going to be in the business you should know about the business. There are so many designers that no one remembers, like Anne Fogarty, Chester Weinberg, Gayle Kirkpatrick, and Donald Brooks, and those people should be part of our history.”

On the future…

“I still work and still have the fear of failure that most creative people have. I don’t know what I would do if I stop. I have the longest written memoir that’s not published.”

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Let’s face it, we’re all looking for a little bit of sartorial sparkle during the holidays.

But while most of us will brave the crowds at a nearby shopping centre or hit up a local boutique to find that perfect party frock, a select group will be searching for their very own made-to-measure designs.

“There are merits to both shopping experiences,” Vancouver designer Jason Matlo says of buying mass market versus bespoke fashions. “(But) I do think we are in a time where people are looking to get out of the standardized ways of shopping and are looking to support local artisans, which I am in fully support of.”

Matlo, who has been designing his own line for more than a decade crafting both ready-to-wear and made-to-measure pieces, says the interest in made-to-measure clothing has grown in recent years — especially during specialty seasons such as the holidays.

“The holidays are a season that require a certain level of elegance, sophistication and glamour,” he says. “There is a group of fabulous women in Vancouver that seek this type of fashion experience and have the means to afford it. These women embrace the idea and find the artisans locally to execute the garments.

“For those shoppers that want a dress that has impeccable fit, luxurious fabrics, interaction with the designer and involvement in the design process, this is a beautiful way to shop.”

Designer Nancy Lord agrees.

“When I started the business it was very difficult because women (here) did not dress up,” Lord, who has been established in Vancouver for 28 years and opened her flagship store at 410 Howe St. two years ago, says. “Now, it is a very different market.”

Not that either is complaining about the seemingly booming bespoke business. Because for most fashion designers, being able to create made-to-measure designs is as much a luxury for them as it is for their clients.

“I enjoy both ready to wear and couture design, but I would be lying if I said I enjoyed them equally,” Matlo admits. “There is something so creatively satisfying when working with a client that has both the design taste and financial means to create something one of a kind — spectacular in both style and craftsmanship.”

He says unlike the limitations placed on fabrication and design by traditional ready-to-wear collections such as body types and pricing, made-to-measure affords him the ability to take more risks with design and make upgrades to construction and textiles.

“When the piece is custom-made the price points are much higher and it means the design process is elevated creatively, the fabrics are the most beautiful and luxurious quality, all the beautiful finishes and ‘couture’ hand sewing techniques I love are able to be incorporated in the piece yielding a superior design experience for both me, my team and the client,” he explains.

So just how much does a made-to-measure piece cost?

“Depending on the piece, fabric, complexity and detailing a dress could run between $1,500 to $10,000,” Matlo says.

It’s a price point that is very consistent throughout this customized world.

Lord, who prefers to stick to more “chic-casual” designs rather than over-the-top evening gowns (although she will do both those and bridal by special request), says the cost of locally crafted, made-to-measure clothing is comparable to what luxury-calibre shoppers are used to paying at prestige brand boutiques.

“Our shirts start at $325 to $795 depending on the fabric,” she explains. “And we have pure cashmere coats that vary from $2,500 to $6,000.”

She says it’s less about the initial cost as it is about allowing women to “spend their dollars wisely” on pieces that will last a lifetime.

“When you invest in a good quality item, and you know it’s going to last, you know that you’ve spent your money wisely,” she says. “We have a client who we made a leather jacket for — 24 years ago. She came into the store the other day and it still looks brand new. She wears it almost every day, she loves it. The style has of course changed a little bit. And so I restructured it for her and she still has another 25 years in it.”

It is these steep price points that have made some local designers seek out alternatives that will allow their custom creations to reach a wider array of customers — and for Iliana Rosabal of Cache Couture Atelier, that alternative has taken the form of custom couture rentals.

“Essentially, we came up with this as a way to help women sparkle,” Rosabal says. “It’s an opportunity to dazzle in Haute Couture at a fraction of the price — (to) look like a million bucks, without spending it.”

Customers can rent one of Rosabal’s designs for approximately 28-per cent of the retail cost of a gown, plus taxes. But while the dresses come at a discount, Rosabal says the customer’s atelier experience does not.

“We have customers in for a consult and initial fitting, which is included in cost of rental,” she explains. “If any alterations need to be done, we will customize accordingly and have it ready within a week.”

In a way, it’s like custom couture at a fast-fashion pace.

Now there’s something to (carefully) raise a glass to.

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