Savoir Faire in the Underworld

I have always been intrigued by the legend of Orpheus and Eurydice with the Jean Cocteau film Orphee being one of my all time favourite movies. Full of symbols of deep love, death, mortality, trust and loyalty the film is a visual masterpiece. Although the legends of Orpheus extend way beyond that of Orpheus and Eurydice this is the legend that has garnered more attention than his other exploits. Orpheus and the underworld has been portrayed by many artists, moviemakers and musicians, however I think none did it better than Cocteau and maybe some of the Pre-Raphaelite artists.

We are all familiar with Orpheus’ journey to the underworld to rescue his beloved wife Eurydice on the advice of the nymphs and his subsequent disastrous return

Cocteau with his usual savoir faire updated the legend and set it in modern contemporary times taking liberty with original story to create an incredibly moving and thought provoking piece of cinema. This has now become a classic.

Imagery abounded, for example the underworld’s messengers being portrayed as two motorcyclists with rather menacing attitudes.

Another interpretation of the legend was Portland Opera’s production of Philip Glass’ Orphee. Philip Glass one of the most renowned and often produced composer of modern times, carefully follows the script of Cocteau’s masterpiece to produce an intriguing work. Although not ranking in the same league as Cocteau’s I definitely give it an honourable mention.

The Portland Opera like Cocteau sets this in contemporary times so that the audience can relate better to the situation and may at least feel some sort of empathy for the characters. Placing it in a modern day setting we tend not to think of the ancient origins of the story.

This is an incredibly stylish production that creates parallel universes with the use of mirrors and transparent borders through which the main characters can travel to and from the underworld.

As in the Cocteau production death is represented by La Princesse. Cocteau had her elegantly attired in black, while the Portland Opera has costumed her in white fur, maybe to make her more appealing to our protagonist.

New love may have its passion; however married love brings adds whole new dimension to the passion, so that two almost become a single being, with partners sometimes going to extraordinary lengths to stay together as Orpheus has shown us.

Savoir Faire avec les Parfums Worth

With inspiration coming from my last post on the House of Worth, I have been tempted to take maybe a little bit of artistic licence with this one and have done a bit of a relaunch of my own.

As mentioned Worth are poised to relaunch their classic Je Reviens fragrance. This has long been one of my all time favourites and I have worn it for years. Unfortunately with most classic perfumes the current edition available is just a shadow of its former self. So let us hope that Worth gets it right this time.

While doing a bit of research for the Worth post I came across an interesting story of previous perfumes launched in the 1920’s through to the 1930’s including Je Reviens. With the names of 5 perfumes Worth created a little hidden poem on love.

Dans La Nuit (1924) in the night

Vers Le Jour (1925) towards the day

Sans Adieu (1929) without bidding farewell

Je Reviens (1932) I will return

Vers Toi (1934) to you

Given this I was wondering how to illustrate this poem and have taken a few liberties of drawing images from Helmut Newton and various other sources to do this. Mind you my interpretation is a little darker than what Worth might have had in mind; however I am happy with the result. I did have a little trouble sticking to just one image for each perfume, as you can see.

Dans La Nuit

Vers le Jour

Sans Adieu

Je Reviens

Vers Toi

Worth a Second Look!

It is very significant that the name of the House of Worth’s premier perfume was “Je Reviens”, literally meaning “I Shall Return”.

Credited with being the father of Haute Couture, Charles Frederick Worth was an Englishman who set up shop in Paris in 1858, eventually closing in 1956 just shy of its centenary. Many of the things we take for granted these days were formulated by Worth. He is credited as the first designer to put labels onto the clothing he manufactured. He can also be credited with creating the fashion parade being the first to show his creations four times a year in parades. He completely revolutionized the business of dressmaking and formed the basis of what is the industry today.

With fashion week in Paris a couple of months ago, there was a resounding buzz of anticipation of the return of Worth under the helm of creative director Giovanni Bedin. Lying dormant and mothballed for decades and with basically a paired down perfume business, keeping the name active, is this the ultimate comeback for the house which invented Haute Couture? The house is even returning to their original address in Paris on the Fauborg St Honore.

Bedin originally trained with Thierry Mugler and Lagerfeld, presented a tiny collection (by today’s standards) of just 8 ensembles! Bedin presented two looks, both with tiny waists, stiff collars and hourglass shapes that evoke high Victorian femininity. All created out of fine silk brocades intricately woven with embroidery and embellished with gravity defying ruffles. Bedin says he “wanted to emphasize the essential—which, to Monsieur Worth, was always l’élégance.”

The show being very intimate and elegant gave the audience a chance to get up close and personal with the designs and a chance to appreciate the fabulous detail, which is not possible at a full blown runway show. The tailoring was magnificent recalling the Victorian shapes that would have been prevalent in Worth’s heyday.

Whether this is in tune with the modern woman of today who might not want to feel so constricted we shall have to wait and see. A prêt – a –porter line is rumored to be launched in November, so it will be interesting to see how this high couture look is going to be translated into ready to wear.

Je Reviens is also due to be relaunched, so upon the return, the question is will the modern day woman embrace this return. Maybe something that will help persuade her, is if Lady Gaga beacme a client?

Lucky Savoir Faire

Weil, Paris that veritable French perfumery between the wars was specifically known for their “fur” perfumes named after, you guessed it fur. With names like Zibeline, Chinchilla Royal and Hermine, they were a symbol of subdued elegance and class.

In 1943 they digressed from the luxury and the elegance with Gri Gri which featured native African tribal art for the ad campaign. Literally translated as ‘lucky charm” nothing is really known much about this fragrance. However I just love the art work.

Using small African statuettes in a variety of poses to symbolise the lucky charm, they are fresh and full of fun. With a bit of luck, like the statuettes with some “Good Fighting”, “Good Hunting” you will have some “Good Loving” as well!

Mainstream Savoir Faire

I am not usually a fan of the H&M designer collaborations, however last year did see me line up for the Jimmy Choo diversion collection at H&M. While I was not overly impressed with the women’s wear and shoes, I did snap up for myself the men’s jeans and a pair of brown suede Chelsea Boots. I have to say that jeans have served me well and are one of my favourite pairs and the boots, I just adore.

It is with anticipation now that I wait for the next collaboration which is with Lanvin! Both women’s wear and menswear will be available, and I would be telling a lie to say I cannot wait! I used to think of myself as too old to line up, however am definitely considering doing this on November 20th when the collection is released. A preview will be released on November 2nd, so this might be the deciding factor!

"It wasn't a project about a dress for less," Elbaz (artistic director for Lanvin says. "I think I loved the idea that H&M is going luxury, rather than Lanvin is going public. I thought it was a smart project so I say, 'I do.'" And so do I.

An American in Paris

It is not often that an American becomes the toast of Paris and even admired and revered. It is even rarer in the world of Haute Couture. To date there has only been one American accepted into the holy inner circle of this veritable French institution.

Originally a native of Chicago Main Rousseau Bocher also known as Mainbocher was a graduate of the Chicago Academy of Fine Arts and served in France during World War I where he stayed on after the war had finished. Eventually becoming the editor-in-chief of Vogue, Mainbocher decided to open as couturier, due his critical eye and feeling for design. Fusing his first and last names together he opened in 1929.

Right from the beginning Mainbocher designed for an exclusive and wealthy clientele. Having none of the shock tactics as some of his fellow couturiers such as Schiaparelli, Mainbocher’s creations displayed a purity of line and proportion and simplicity that set them apart from the other creations of the other couturiers, except maybe Molyneux. This was savoir faire with discretion.

Clients read like a list of who’s who, cumulating in designing the wedding trousseau for Wallis Simpson and naming the colour ‘Wallis Blue” for her.

Maybe sensing that war was coming, his last collection in Paris created a furore. The “Mainbocher” corset radically confronted the sinuous fluidity of the designs of the thirties with a more constructed tailored silhouette. The corset that was the basis of this collection was immortalized by Horst in one of his most famous photographs.

With the advent of war Mainbocher relocated to New York setting up next door to Tiffany’s on 5th Avenue. In New York he established a clientele that was known for the supreme elegance of café society. In 1947 eight of the New York Dress Institute's Ten Best-Dressed Women in the World were Mainbocher clients.

Through the 50s and into the 60s, Mainbocher design was at its highest pitch of purity. A Mainbocher label meant invisible extravagance and deep discretion. In the two photographs of Gloria Vanderbilt below this is highly evident.

Retiring in 1971 Mainbocher closed his doors at the age of 81, leaving a lasting legacy of innovations in women’s fashion.

In an interview published in March 2009 in Interview Magazine, Hamish Bowles, the European Editor at Large for Vogue stated:

"I am absolutely crazy about Mainbocher’s clothes. I think they are so subtle, the detailing is so extraordinary, and they are so unbelievably evocative of such a particular time and place and milieu and lifestyle, of absolute subtle luxury. Even his work from when he had his couture salon in Paris through the ’30s—it has a kind of brisk edge to it and a crispness and a precision that is completely American. You can really see why a client like Wallis Windsor would have been drawn to his clothes, and why she became so emblematic of his work. It needs a café-society client who really understands Europe but has a kind of brisk, no-nonsense American edge”