Rosie Scott Blog about Women

Redken ambassador and owner of Cutler Salons, Rodney Cutler takes a look back at 2015 to share his top hair trends for the coming year. Take a look and let us know which ones you'll be trying.

Bangs/Textured Lob: Growing out last season’s hot short shag cut? Ask your stylist for a bob outline with interior layers that will add texture to the lob shape, creating a more versatile cut and style. The soft, separated veiled bang was a big trend on the runway and red carpet this past year and will continue to dominate in 2016.

Get the Look: Prime hair with Redken Pillow Proof Express Primer before blow-drying to protect the hair from the heat and styling tools. Work towards smoothing the root down slightly – You want a little bit of volume at the crown but not much. A little Redken Guts 10 directly on the root should do the trick! Using a flat-iron, twirl small sections of the hair starting from below the bang line to create a ribbon curl with straighter ends. Finish with a light working hairspray like Redken Fashion Work 12.

Slick Sweepback: The intention for this haircut is a chic, strong silhouette that is ideal for showing off your beautiful face. Tucked, smooth hair behind the ears to keep the focus on your features – strong cheekbones, stunning eyes, full lips. This cut is ideal for the stylish girl who doesn’t need to hide behind her hair!

Get the Look: Apply a small amount of Redken Diamond Oil Glow Dry Serum and blowout hair in root direction with a Mason Pearson brush while creating a strong side part. Tuck hair behind ears and finish with Redken Triple Take 32 for maximum hold and all-day control.

Top-Knot Updo: This easy top-knot updo is the perfect hairstyle for the girl-on-the-go, requiring minimal effort and maximum beauty!

Get the Look: Start with a great dry shampoo like Redken Pillow Proof Two-Day Extender and spray throughout the hair. Brush through removing all knots, but not too smooth – you still want a disheveled starting point. Create a high top-knot at the very top of your head, wrap around and secure knot with long bobby pins for maximum security. Leave out a few inches and smooth down this tail. Spray hair generously with Redken Triple Take 32. For a special touch, add a small accessory to add a little sparkle or shine to this effortless style!

Bronde Hair Color: Coined “chocolate chip cookie hair color” by Cutler Soho colorist Ryan Pearl, “bronde” highlights have been creeping into the hair lexicon for much of the past year. Expect this low-maintenance color to continue to populate on Instagram feed and Pinterest boards throughout 2016. This is the perfect color for the indecisive fashionista – the ideal mix of light and dark with minimal damage to the hair allowing for future changes without compromising the integrity and health of your locks. Plus, it’s gorgeous!

Opal Hair Color: After the Rainbow-Brite Technicolor dreamscapes of 2015, expect avant-garde hair color to take a softer, more iridescent transition in the New Year. Opal color with its blend of pearl, light pink, blues and purples will be the go-to trend on the red carpet and front row at the hottest fashion shows. However, this color trend is definitely not for everyone.

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In the 2006 film "The Devil Wears Prada," the imperious fashion magazine editor played by Meryl Streep champions the waifish ideal of female beauty, referring to her plucky new size-6 assistant as "the fat one."

It's that kind of unhealthy beauty standard that real-life editor Ravneet Vohra is working to challenge with Wear Your Voice, the online women's magazine and social media brand she's been publishing out of her Oakland, Calif., home for two years.

The publication's latest campaign, BeyondBeauty, features photos of 18 bra-and-panties-clad Bay Area women proudly displaying their various-sized bodies. Launched on Black Friday, the BeyondBeauty campaign was viewed more than 3 million times on Twitter in its first week and earned glowing mentions in Vanity Fair, People and Self. Even Vogue, the magazine that inspired the "Prada" book and movie, recently gave BeyondBeauty an online shout-out, and Huffington Post profiled Vohra as one of the "Women to be thankful for this year."

A former fashion merchandizer and the British-born descendant of Indian immigrants, Vohra says she was inspired to create Wear Your Voice because she, like a lot of women, feels the media has never been her friend.

"When I flipped through the pages of my favorite magazines growing up, I never saw images that I could relate to," said Vohra, 39. "I realized later in life that media had been the source for many of my insecurities, and I knew if I didn't see myself represented in the media, other women didn't see themselves either."

Discovering Oakland's diverse, eclectic population inspired her to channel her insecurities into a publication that would "revolutionize the media space."

'Loving it'

She remembers when she first came to Oakland, driving around downtown and "loving it."

"There's a soul and energy and creative buzz," she continues, "and I really wanted in on it."

In an interview at the Montclair, Calif., home she shares with her husband and two young children, Vohra sports a chic mini skirt by Oakland designer Harumi K and a pixie streaked with red hues.

Though she jokingly calls herself an "angry Indian woman," she wasn't always a rebel. She grew up shy and dutiful, she says, wore her hair long in the Sikh tradition and felt constantly judged for what she wore or for having "fat calves." While she dreamed of being an actress or doing something "big," she found her groove in her early 20s working as a publicist for a London-based designer.

Ultimately, she found the fashion industry to be ego-driven and backstabbing. Single at 26, she gave into family expectations and became a trophy wife in an arranged marriage.

For her daughter

When the marriage turned out to be an unhappy one, Vohra became the first person in her family to divorce. While visiting her sister in Berkeley, she fell in love with both the Bay Area and her current husband, Sumit Sharma, who was supportive of anything she wanted to do.

Vohra eventually worked as a personal stylist, where she constantly heard female clients beating themselves up for not looking like Vogue models. When she became a mother to her first child, a daughter, she realized the extent to which she also harbored self-hatred.

"I really didn't want my daughter to experience life in the way I experienced it," she said.

One thing she had to address was being molested as a young child by a family friend. Finally sharing that information with her family helped Vohra chip away at her self-hatred and find her voice.

"Wear your voice," the message of self-empowerment she always gave to clients, became her magazine's title. Though lacking editorial experience, she rounded up a team of enthusiastic local writers and photographers. Her initial mission was to celebrate her new hometown's arts and culture scene, but she and her writers morphed it into something more personal.

'Space for everybody'

Its convention-challenging focus comes at a time when a growing number of bloggers, "body positive" activists and celebrities are speaking out against beauty standards that experts say contribute to negative self-image and eating disorders.

Senior columnist Rachel Otis, who struggled most of her life with having a larger body than her peers, says she was excited by Vohra's "honesty and authenticity." The BeyondBeauty photo shoot was Otis' idea, inspired by the famous Dove "Real Beauty" campaign. Otis says Dove undermined its seemingly positive message by reportedly featuring only models under size 16 and using the campaign to market skin-firming and other products.

"There's nothing we hate more than a body-negative campaign disguised as a body-positive one," Otis said.

Even before BeyondBeauty, Wear Your Voice was garnering buzz, including a flood of disparaging online comments in Britain's Daily Mail, for DroptheTowel, a campaign that encouraged people of all sizes to be proud of their beach bodies. Another campaign very close to Vohra's heart, KilltheSilence, urged people to stop blaming domestic violence victims for their plight.

Vohra hopes to expand her magazine's international reach so that one day, women of all sizes, shapes, ethnicities, sexual orientation and gender identity will star in fashion spreads, including in Vogue.

"I'd like them to have a space for everybody."

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http://www.creativiks.com/francescalees/blog/15965

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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Modeling careers are known for their brevity: Looks fade, bodies change, and fashion is fickle. Most models who enter the industry and experience some degree of success can expect their career highs to last anywhere from a few seasons to—at best—a few years. The girls and guys who stretch their success into decade-spanning careers and serious paydays are few and far between: For every Naomi Campbell or Linda Evangelista, there are hundreds more who leave modeling for careers that don’t hinge on their ability to look good in a sample size or to be prepared to fly off to far-flung locations at the drop of a dime. The revolving-door cycle where newcomers test the waters, burn out, and are subsequently replaced by even newer faces has become the norm—and social media as a never-ending casting source has made models themselves seem even more replaceable—but what does this lack of longevity mean for the fashion industry as a whole? Models used to be more than just mannequins, remember: They would develop relationships with the designers and serve as a sounding board and de facto muse. Now, it seems, an average designer barely has time to introduce him or herself, let alone get personally invested in a fresh new face.

The unique pressures of modeling are often downplayed—most people can imagine that having to adhere to a strict set of physical requirements is stressful. But so, too, are long hours spent in fittings or on set at photo shoots or in less-than-ideal conditions (swim shoots in winter, anyone?). Add in the rigors of fashion month—where it isn’t unusual for models to work 16 to 20 hours per day—and the fact that pay for most editorial work is middling to nonexistent, and you have an environment in which it is extremely difficult to prosper. As such, many models opt out, choosing instead to step away from the spotlight to focus their energies on their personal lives, outside interests, or careers within other segments of the fashion business. While the constant stream of former models makes for interesting where-are-they-now stories, something feels awry about the high level of turnover. Even supermodels—Cara Delevingne and Gemma Ward among them—have stepped away from modeling for a time, speaking critically about the industry’s expectations and their own feelings of fatigue.

As it stands, the current cycle is in need of revision. Any industry where high percentages of employees are treated as disposable could use a moment to re-evaluate itself. With the federal child entertainer labor bill introduced earlier this year, the time is right for other changes. From getting new models educated about their rights and their finances to developing careers with the goal of longevity rather than hype, the bill is among one of the countless ways that the modeling industry could make things just a little easier on the models themselves. Fashion as a whole is suffering from a bout of instability, with high-profile departures from major fashion houses and the concept of job security seeming less and less viable. Here’s a goal for 2016: If we give models the tools and education to further themselves in the fashion industry—and as people—everybody wins.

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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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Navya Naveli Nanda, the granddaughter of Bollywood screen legend Amitabh Bachchan, is the latest victim of body shaming.

In an essay posted by her mother on DNA, Shweta Bachchan Nanda condemns the bullies who attack Navya.

The young girl studying in the UK, who has just turned 18, is made to feel bad for being too skinny.

Shweta writes: “My immediate reaction was one of utter rage!

“You bring your kids up with such love and care, not a day goes by when you don’t tell them or remind them in different ways just how wonderful they are.

“And then, someone callously brings it all crashing down and their only authority is that they are your child’s peer and their word will, for a while, mean more to them than manna from heaven.

“It is the worst kind of bullying, simply because it leaves the most lasting impact!!”

The 41-year-old mother seems to really understand what her teenage daughter is going through, as Shweta herself was once a victim, too.

She recalls her terrible experience in school where she was nicknamed ‘Big Bird’, after causing a small accident during Chemistry class:

“Dressed in all yellow, I knocked over a test tube with something vile and frothy in it, and managed to burn a little hole in my partner’s folder.

“He was naturally livid and told me to ‘stop flapping about like Big Bird’.”

Even though this happened at a time when our lives were not monitored by social media, Shweta felt incredibly shameful of such name-calling and her awkward appearance.

Describing a younger self, she writes: “Painfully thin, gawky, with limbs that were growing faster than I knew what to do with… and then there was acne. It’s a miracle I ever left the house.”

This is all the more reason it breaks her heart to hear Navya, who reportedly studies at Sevenoaks School in Kent, cry over the phone about the incident.

Navya has recently received singing praises for her beautiful appearance at Parisian Le Bal des Débutantes, where she dons a Dior couture gown.

The highly exclusive event is known for selecting attendees based on their looks. Shweta echoes:

“She is everything I would have loved to look like at age 18. Beautiful long hair, delicate nose, long lashes and elegant artistic hands… a perfect collection of atoms, but more importantly, she has a heart that is equally soft and brave.”

Body shaming has been taken to new heights with the boom of social networking sites and the increasing focus on body image.

Celebrities could be attributed for kicking off the trend, but even they are not immune to being judged and criticised by the online community.

British songstress Adele has always been a popular subject of discussion when it comes to body image. Clearly, neither commercial nor critical success can protect one from malicious attacks about the way they look.

The record-smashing singer tells Australia’s 60 Minutes: “I’ve always been asked questions about my body and my weight and my size and my style and stuff like that.

“And I totally understand. It’s a little bit annoying that men don’t get asked that question as much.

“But other than that it seemed to astound people that I was plus size and being successful, that was how I felt.”

Reality TV star, Kim Kardashian, becomes a target when she was pregnant with her second child, who was born on December 5, 2015.

Speaking to C Magazine, she says: “Before I was always smiling, and so into being out and about.

“After I had the baby, I was like, these are the same people that made fun of me, and posted the stories that were so awful, calling me fat for something I couldn’t control.

“I don’t want to smile for them. Even if I was more confident, I just didn’t feel like being that girl who was going to be smiling for every photo. It changed my mood; it changed who I was.”

Instagram, where the obsession over physical appearances has exploded in the past few years, had to apologise in 2014 for removing a photo of plus-size musician and vlogger, Meghan Tonjes.

If the apology has achieved anything, it is fuelling the surge of unretouched photos from social media users and the likes of well-known US comedian Amy Schumer, who poses naked on the cover of Entertainment Weekly and for the 2016 Pirelli calendar.

Mindy Kaling, Taylor Swift, Kelly Clarkson and Sam Smith have also joined the parade of self-empowerment in the hopes of setting positive examples for young people.

As Navya officially enters adulthood, her mother can only take joy in thinking: “Welcome to the world baby girl, learn to roll with the punches, it is the first lesson of adulthood.”

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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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