Ring in the 'New' (or Perhaps I should say, the Old)

The Year of the 'Original'
With a New Year on the horizon, that means new resolutions, new possibilities, a renewed outlook, and a brand New Fashion Year, since New York Fashion Week for fall 2007 is set to begin on February 2. Another season, another reason, to buy new clothes. Right? Well frankly, no!

With yet another fashion cycle coming up, yet another round of shows, and runways filled with yet another dizzying assortment of clothing, accessories, and beauty ideas, it's a perfect time to reflect, examine, take stock, and define what true style really means. And it's not about stuffing those closets with brand new 'must have' 'it' things each season, or changing your look because the designers, retailers, and magazines propose that you do. As the late Geoffrey Beene used to say (when he referred to the 'annoying' question posed by editors: "What's new?"), "Don't ask me what's 'new'; ask me what's GOOD!" (Somehow, I never tire of repeating this).

Indeed, it appears that the fashion world is collectively taken with those individuals who eschew cookie cutter sameness, trends du jour and, instead, blaze their own trails and follow their own hearts. I suppose you could say it's the 'Year of the Original'.

Emblazoned on the cover of January Vogue is the bold headline, "50 Best Dressed Originals Past & Present". And within The New York Time's 'T' Holiday 2006 Magazine there was an entire portfolio called "The Originals". It began with an introduction that explained: "frankly, we were sick of seeing actresses on the red carpet in ensembles that had been carefully (a tad too carefully) assembled by a team of so called experts. Or women on the best-dressed list who rarely shopped for their own clothes."

The New York Time's legendary 'On the Street' chronicler, Bill Cunningham, who always has an eye (and his camera) focused on those with original style, devoted a recent column to unique, colorful, and daring non-conformists such as Italian Vogue's Anna Piaggi and New York based writer Lynn Yaeger.

That said, there is no doubt that the enduringly elegant and ladylike style (dare I use the dreaded 'L' word?), which defined the late Nan Kempner and is at the heart of the Metropolitan Museum of Art's Costume Institute, "Nan Kempner: American Chic" exhibit, will be a reference point for many designers as they formalize their upcoming collections. Of course, when did impeccable fit, beautiful tailoring, flawless grooming, having a sense of what is appropriate, and projecting an image that says you care about your appearance, ever go out of style?

As I have previously mentioned, Neiman Marcus's Fashion Director Ken Downing reported that based on early reports for fall 2007, he believes there will be a rekindled love affair with the 'lady' which will most likely exhibit itself in matched suits, variations on the coat and dress combination, and a move away from such funky items as exaggeratedly heavy (and unflattering) footwear in favor of something more refined.

Closet Cases
For me, one of the most interesting aspects of getting to peek inside the closets of celebrated fashion icons (as the Metropolitan Museum of Art's Costume Institute has allowed us to do two years in a row, first with Iris Barrel Apfel and now with the late Nan Kempner), is how motivational and inspirational it could be. It can serve as a wonderful vantage point from which to critique and view one's own closets and help one realize all the possibilities that exists with the confine of those walls.

It also helps one edit and focus on what is important and it can also help one better appreciate one's very own timeless, beautiful, and well made collectibles. Because those qualities do not have an expiration date -- they transcend time and the dictates (or vagaries) of the 'ins' and 'outs' of fashion.

Case in point, in much the same way that after seeing "Rara Avis" I became more focused on my own bold statement making accessories, I must admit that after seeing "Nan Kempner: American Chic", I had the sudden urge to re-think smart, strict tailleur and I began to pull out and re-examine my tailored jackets, many of which have been unworn for seasons. While tailoring never disappeared, and is always in style and desirable, all of a sudden, it looks fresh, new, and novel. Such is the cyclical quality of fashion.

Which is precisely why I hate it when so called fashion 'experts' or consultants who appear on television shows or write columns, implore their audience to rid their closets of items they haven't worn for a year or two or three. The thought being, I suppose, is that if the client has not worn something for a certain period of time that proves it will never again have a useful purpose.

Now, how ridiculous is that? If you're lucky enough to have the space and presence of mind to store your collectibles, you might just come across a hidden treasure that you hadn't thought about for years, only to realize (after seeing something similar on a runway, in the pages of a magazine, or worn by someone) how perfect it is and how easily it can be incorporated into your existing wardrobe.

Regardless of what is being presented on runways and proposed by designers at any given moment, one can be sure it will not be long-lived and there would be a reaction against it the next time around. For example, following a somber, very dark, almost all black fall, some of the world's most influential designers (including Miuccia Prada and Jil Sander's Raf Simons) burst out in eye-popping color (and shine) for spring. And after seasons of leggings and skinny skinny pants, it looks as though wider legged trousers are about to make a comeback.

But is there ever a time when something colorful would not be appealing and cherished in a basically neutral or all black closet? And even when things swing to the minimalist side (as they did in the 90's), wouldn't that by definition make one's more ornamental and embellished pieces even more desirable and enticing? It is precisely those eccentric, unusual, and offbeat possessions, which may seem out of kilter with everything else, that can instantly spice up a basic wardrobe and give it some magic. Who would want an antiseptic, tightly edited closet or a closet full of just one thing? How boring!

The one thing that is guaranteed in life (in addition to death and taxes) is that in terms of fashion, everything comes back again. And you might argue that it comes back differently, but I beg to disagree. And apparently, the late Mrs. Kempner disagreed with that sentiment too. When complimented on what she was wearing, she was always proud to point out that it was decades old (if that was the case).

Another hallmark of her style was the creative way she thought about her clothes and played around with the pieces. She notoriously kept all her belongings together (never storing things seasonally) because she understood that seasons mean nothing and unexpected, spontaneous combinations are the most fun.

Just to expound on the notion of seasonless... with the unseasonably mild winter we've been enjoying thus far, global warming is clearly a reality. Cotton, lace, and chiffon are being worn in the winter; velvet, feathers, fur in the summer. There is almost nothing that cannot be used almost 12 months a year depending on how it's layered, or not.

The soul of Nan's style was captured perfectly by some of her signature quotes that were included within three pages of the press package given out at the preview of the exhibition:

"I hate to give clothes (away) because I know it is just what I'll want to be wearing again next."

"In fact, there's not a thing of Yves' that I've bought and couldn't still wear. Nothing goes out of style, which is why I find the couture a very good investment. You can recycle, bring out things many years later and they look brand new.

"Nothing can replace the cut, fit, and love that goes into a couture outfit: it has been made by an artist. And besides, it mixes very well with the Gap."

"I'm crazy about hats. I'm crazy about clothes. I am crazy, period."

"My mother always said to me, 'Put it all on, and then take half of it off'. Understatement is the key. It is important to have your own style and not be one of those creatures who follow fads."

"I don't need another dress. I need another body."

"I tell people all the time I want to be buried naked. I know there will be a store where I'm going."

Mrs. Kempner's style may not have been for everyone (and goodness knows, not too many of us can afford to buy thousands of pieces of haute couture even if we so desired). That said, in looking around the galleries of The Costume Institute where some of Nan Kempner's treasures are being housed in style until March 4th, 2007, one cannot help but be struck by the inherent timelessness and enduring quality of her collection, many items going back decades.

What could be more modern and of the moment than Mme. Gres' amazing draped jersey gowns? Or Yves. St. Laurent's strict tailleur, beautifully executed coats, brilliantly hued satin evening coats? Or his navy and white striped sweater worn with perfectly cut white linen trousers? And what could be more timeless than perfect black cocktail dresses and cocktail suits from names like Pierre Cardin, Oscar de la Renta, Christian Lacroix? Ditto the black and white evening gowns from Balmain by Oscar de la Renta, Valentino, Ungaro, Chanel, Ferre. And who could deny the timeless, forever appeal of dramatic statement making cuffs, necklaces, belts, pins from Chanel, Yves. St. Laurent, Kenneth J. Lane, Claude Lalanne?

Then again, what could be more timeless and appealing than safari jackets, pea coats, sheaths, shirt dresses, crisp white shirts, tuxedos, thick hand knits, little black dresses, polka dots, black and white, red, stripes, florals, capes, patent leather, gold, tweeds, tartans, silver, thick chains, pearls, beads, fur trim, python, crocodile, clutch bags, espadrilles, lace, quilting, riding boots, anoraks, fringe, blue jeans, princess coats, the trench, or something printed in leopard? All of which periodically make the 'Must-Have' lists of exalted publications and retail outposts at one time or other. But they've also been around for decades if not centuries. And let's be honest, have these things ever NOT been in style? They are perennial customer favorites and are continually being reworked and reinvented by designers.

And these items don't have to be haute couture or bear an expensive label in order to be desirable. In fact, one of my best purchases this year (yes, I stood in line for hours) was the $129 Viktor & Rolf for H & M tan trench coat with its dressmaker cut and details. This coat will never have an expiration date.

Like the trench coat (which never goes away), it seems leopard is as ubiquitous these days. Just look around: leopard coats and accessories are being seen on those of all ages, both sexes, and even on man's best friend. It always makes me think about the late Carrie Donovan (who I had the pleasure of working for when I was at Harper's Bazaar). Like Diana Vreeland, Carrie adored leopard (she not only wore the pattern, but decorated her home with it). In her observation that it's a classic -- the ultimate 'neutral', she once remarked, "It's like camel...only better".

And more recently, Neiman Marcus' Fashion Director Ken Downing observed that leopard is so neutral and looks so good with everything that it's not even being thought of as a print any more. So true!

'Chic' Speak
With the "Nan Kempner: American Chic" exhibition having recently opened at the Metropolitan Museum of Art's Costume Institute (www.metmuseum.org), it's understandable that the word 'chic' would be on many of our minds.

Admittedly, chic means different things to different people. From my perspective, chic is having an identifiable signature, predicated on a large dose of self-assurance and confidence and an innate knowledge of what best suits one. Which is precisely what links style-setting women past and present like Nan, Iris, Anna, Jacqueline Kennedy Onassis, Babe Paley, or the late Audrey Hepburn, who I just watched once again in "Breakfast at Tiffany's" during which time I marveled at how all the clothes she wore were as simply perfect back then as they would undoubtedly be today (okay, well, maybe without the stylized hats and gloves).

None of these women would think of following trends for trends sake. Not that there's anything wrong with playful experimenting. The problem is when the experimentation and fashion victimization is so unedited and random that it obscures the owner's identity and personality.

Along those very same lines, it appears that for Anna Wintour, the definition of chic can be found within her January Vogue cover story, "50 Best Dressed Originals Past and Present". In her Editor's Letter, she heaped praise on "the 10 young women who get dressed every morning without the help of a stylist." "These individuals show us that a commitment to looking chic need not involve following the trends or anyone else's lead."

Sarah Easley and Beth Buccini, the plugged in co-owners of the Soho boutique Kirna Zabete, both think that designer Celestina Maristela-Ocampo is the "epitome of chic". So much so that Sarah told The New York Times 'T" Style Magazine for Holiday 2006, that the duo took one look at her collection of handmade minaudieres, rings, necklaces, and earrings and said "whatever she makes, we'll take it".

And chic doesn't only apply to people. For the folks at Harper's Bazaar, the word can be called into play to describe a rug. In the January issue of Harper's Bazaar, within a section "Entertain with Style" where they listed their "chic party secrets and must-have decor finds for ringing in 2007", there was a photograph of a Flytip rug by Committee for the Rug Company ($6,995), which they decreed "Eco-Chic" owing to its colorful and playful designs, which help remind us of today's "over consumption".

While it might be difficult to put your finger on what is chic, or verbalize it, perhaps it's easier to isolate those traits that are not. Certain things come to my mind:

-Chic is NOT switching from gold to silver (if you really love gold), only because the fashion magazines or retailers label it the 'metallic du jour'.

-Chic is NOT just having style in one area, but in all areas of your life. This was exemplified recently by couturier and "architect of fabric" (in the words of Martha Stewart) Ralph Rucci, who appeared on one full segment of the Martha Stewart Show last week. The multi-tasker proved he can cook one mean souffle (it not only looked good, but had Martha oohing and aahing).

-Chic is NOT getting a Chihuahua just because Paris Hilton, Jessica Simpson, and Nicole Richie have one and carry theirs around in a status handbag.

-Chic is NOT joining the Kabbalah movement because you read about Madonna and Demi's involvement in the ancient sect.

-Chic is NOT painting your nails Goth black if you really prefer classic red, just because it's favored by the likes of Lindsay Lohan, Brittney Spears and Mischa Barton.

-Chic is NOT wearing unsightly and unwieldy clodhopper platforms (with all the appeal of a club foot) just because Nicolas Guesquiere and others showed them on their runways.

-Chic is NOT trying to look inappropriately younger as you get older but figuring out what is appropriate within your own personal guidelines and affecting a fabulous 'uniform' that works for you.

-Chic is NOT running out to buy the IT bag each season (whatever 'IT' may be). Chic is NOT borrowing clothes from a different designer each time you attend a high profile event.

Woops, It Happened Again!
Speaking of high profile events....I had to chuckle when I read about the recent style faux pas involving Laura Bush and 3 other women who all showed up at the Kennedy Center Honors (considered to be "one of Washington's biggest nights for stars, and glamorous fashion") wearing the same $8500 red embroidered lace Oscar de la Renta two piece gown.

It is every women's worst nightmare but, considering all the sameness out there at the retail level (yes, even at those prices), it can easily happen. Unless of course you are having something custom designed, or are in a position like the late Jacqueline Kennedy (when she was first lady), to have your couturiers see to it that nobody else will wear that exact dress that season. Then again, you can buy vintage, which by very nature, is one of a kind (and certainly not nearly as costly).

I am an avowed vintage buyer and wearer and one reason is that vintage offers not only the charm and appeal of built-in exclusivity but, more often than not, it will be better made and fabricated than something newly bought off the rack. Plus, there is the romanticism behind its history. And best of all, you are practically guaranteed that nobody else will be wearing precisely what you are. Talk about a wise investment.

What a 'Hoot'!
And speaking of wise (vintage purchases and other 'wise'), it seems the wise old owl is a favored symbol these days.

When I was strolling the aisles of the November Triple Pier Vintage Show one weekend, what caught my eye more than the clothing, were the accessories. Specifically, the booth of one Manhattan based dealer who had a great selection of vintage pendants (particularly owl pendants) in a variety of sizes and lengths, some silver plate, some gold, some bejeweled, ranging in price from about $15 to $45.

The woman (who can be found on weekends at the Garage on West 25th street and prefers to remain anonymous) told me that in fact, she began noticing several months ago, that she couldn't keep her owl pendants in stock and they were being grabbed up the young and hip as well as European (notably Italian and German) dealers. A few weeks prior to the Pier Show, two dealers who have a boutique in Berlin stopped by and bought almost her entire cache.

Blame it on "Harry Potter" or the rekindled love affair with the 60's and 70's but, whatever it is...it's a hoot!

-Marilyn Kirschner
NY Fashion Industry Report
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