I'll have to vote like Jadeanne on this one.
I say mid 50's - 60s. From Doris Day to Goldie Hawn. That was my favorite era. Awesome outfits!!! Beauty
Your favorite fashion era?
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Beauty
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Hi,
I love the forties. They were the fashions I grew up with watching rerun afternoon movies on TV. I also loved the Ginger Rogers dresses in the Fred Astaire movies. And the high heels! Don't get me started!
Kersten
PS What's wrong with bell bottoms? I love them. I like how they flirt with the feet and toes especially with pretty toes and nails.
I love the forties. They were the fashions I grew up with watching rerun afternoon movies on TV. I also loved the Ginger Rogers dresses in the Fred Astaire movies. And the high heels! Don't get me started!
Kersten
PS What's wrong with bell bottoms? I love them. I like how they flirt with the feet and toes especially with pretty toes and nails.
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Wendy Seymone
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Vintage: A victim of its own success
Jessica Michault IHT
PARIS In Milan last month, the writing was on the wall. Or to be more precise, on the T-shirt. At the D&G autumn/winter 2004 collection, Elvis Presley's 14-year-old granddaughter opened the show wearing a white T-shirt with "J'adore le Vintage" scrawled in hot pink across the front. Vintage dressing, which was once just a distant star circling the frenetic world of fashion, has gone supernova.
Designers no longer content to be inspired by the fashion of bygone eras are appropriating the world of vintage dressing in its entirety. The D&G show was an example. The designers displayed on the runway an assortment of genuine antique clothing as though in a thrift shop. Those looks were remade with key styles from the past 90 years of fashion - Belle Époque beaded lace tops, 1930s tea dresses, '60s mod jackets - and shown with perennial jeans and T-shirts: Instant vintage.
"Vintage has been used, exploited and prostituted by the fashion world - it's the flavor du jour," said Steven Cojocaru, style correspondent for "Today Show" and "Entertainment Tonight." He even admitted that he called some of his favorite Roberto Cavalli jackets from recent collections vintage. "Who wants to say it's a jacket from three seasons ago?" he said. "Vintage sounds so much better."
Fashion houses are so keen on taking advantage of the vintage craze that they are delving into their own archives to create so-called vintage lines. Domenico Dolce and Stefano Gabbana have created "Dolce Gabbana Vintage" and Sonia Rykiel has put out a capsule line called "Modern Vintage." Both collections remake past best sellers for today's clientele. Even Norma Kamali has dragged thousands of unsold items out of storage and started to sell them as "vintage" pieces.
The watershed moment for vintage was the 2001 Oscar ceremony. Although Demi Moore and Winona Ryder, lifelong devotees of antique clothing, had worn vintage to past Oscars with great success, it was the one-two punch of Julia Roberts, in vintage Valentino, and Renée Zellweger, in Jean Desses, that again made vintage a hot commodity.
For Zellweger, who worked closely with Rita Watnick, the founder and president of the Lily et Cie vintage clothing mecca in Los Angeles, wearing vintage was a calculated choice. "We dressed her in a series of three vintage dresses culminating with the Oscar dress," says Watnick, adding that the goal was to transform Zellweger's image into something more glamorous and sophisticated.
Valentino said that Roberts brought the idea of giving a second airing to a classically beautiful "old" dress into public consciousness. "The huge impact that Julia Roberts made in my vintage dress will never happen again" he said.
"She did not just make an enormous impact as a fashion statement, but she created the vogue of the vintage dressing so much that today also a dress of this season worn by Jennifer Aniston, at the Golden Globes was labeled 'vintage' by the press."
Therein lies the problem. Vintage dressing has become so popular that even contemporary dresses are being tagged as vintage if they carry an echo of a 1920s flapper or a 1950s movie star.
In the fashion world, name recognition is everything, and the worst thing a brand can do is dilute the image of a company by flooding the market with a product. While vintage is not a brand name, its once illustrious moniker has become the victim of its success.
After spending 25 years working with genuine vintage clothing, Watnick is exasperated by the misuse of the word vintage. She now asks celebrity customers who buy her vintage clothes for Hollywood's red carpets to say just the name of the designer and the year it was created. That way, she explains, "calling it vintage would just be redundant."
With the words "vintage" and "retro" being used so liberally in the fashion industry, what are their correct definitions? Retro applies to anything with the look of the past, from an Edwardian caplet to a pair of '60s platform shoes. Vintage, on the other hand, carries a similar resonance to furniture described as "antique"; experts believe that clothing, too, must have an appropriate, if not official, time lag.
"To be considered truly vintage a piece must be 20 years old or older," said Elizabeth Mason, owner of The Paper Bag Princess, a clothing boutique in Los Angeles.
If that is the classification that die-hard vintage fans adhere to then the dress that Roberts wore to the Oscars in 2001 would not be considered a vintage piece. Picked from Valentino's autumn/winter 1992 haute couture collection, the dress was only nine years old at the time.
Mason, who dressed Aniston in a vintage 1970s midnight-blue Halston Couture dress for the Emmy Awards this year, finds the trend of new vintage worrisome.
"Contemporary pieces don't have a backbone yet," she said. "I have never heard a woman scream with joy when picking out a modern piece - there is no sense of memory."
Watnick, who dressed Christina Ricci in Madame Grès and Vanessa Paradis in vintage Chanel for the Golden Globes, believes that the choice is as much about the person wearing the clothes as the history of the dresses.
"A woman who wears a vintage dress is making a statement about being an individual," Watnick said. "She is saying that it is O.K. to be different - and that is a great message to send out."
International Herald Tribune
Jessica Michault IHT
PARIS In Milan last month, the writing was on the wall. Or to be more precise, on the T-shirt. At the D&G autumn/winter 2004 collection, Elvis Presley's 14-year-old granddaughter opened the show wearing a white T-shirt with "J'adore le Vintage" scrawled in hot pink across the front. Vintage dressing, which was once just a distant star circling the frenetic world of fashion, has gone supernova.
Designers no longer content to be inspired by the fashion of bygone eras are appropriating the world of vintage dressing in its entirety. The D&G show was an example. The designers displayed on the runway an assortment of genuine antique clothing as though in a thrift shop. Those looks were remade with key styles from the past 90 years of fashion - Belle Époque beaded lace tops, 1930s tea dresses, '60s mod jackets - and shown with perennial jeans and T-shirts: Instant vintage.
"Vintage has been used, exploited and prostituted by the fashion world - it's the flavor du jour," said Steven Cojocaru, style correspondent for "Today Show" and "Entertainment Tonight." He even admitted that he called some of his favorite Roberto Cavalli jackets from recent collections vintage. "Who wants to say it's a jacket from three seasons ago?" he said. "Vintage sounds so much better."
Fashion houses are so keen on taking advantage of the vintage craze that they are delving into their own archives to create so-called vintage lines. Domenico Dolce and Stefano Gabbana have created "Dolce Gabbana Vintage" and Sonia Rykiel has put out a capsule line called "Modern Vintage." Both collections remake past best sellers for today's clientele. Even Norma Kamali has dragged thousands of unsold items out of storage and started to sell them as "vintage" pieces.
The watershed moment for vintage was the 2001 Oscar ceremony. Although Demi Moore and Winona Ryder, lifelong devotees of antique clothing, had worn vintage to past Oscars with great success, it was the one-two punch of Julia Roberts, in vintage Valentino, and Renée Zellweger, in Jean Desses, that again made vintage a hot commodity.
For Zellweger, who worked closely with Rita Watnick, the founder and president of the Lily et Cie vintage clothing mecca in Los Angeles, wearing vintage was a calculated choice. "We dressed her in a series of three vintage dresses culminating with the Oscar dress," says Watnick, adding that the goal was to transform Zellweger's image into something more glamorous and sophisticated.
Valentino said that Roberts brought the idea of giving a second airing to a classically beautiful "old" dress into public consciousness. "The huge impact that Julia Roberts made in my vintage dress will never happen again" he said.
"She did not just make an enormous impact as a fashion statement, but she created the vogue of the vintage dressing so much that today also a dress of this season worn by Jennifer Aniston, at the Golden Globes was labeled 'vintage' by the press."
Therein lies the problem. Vintage dressing has become so popular that even contemporary dresses are being tagged as vintage if they carry an echo of a 1920s flapper or a 1950s movie star.
In the fashion world, name recognition is everything, and the worst thing a brand can do is dilute the image of a company by flooding the market with a product. While vintage is not a brand name, its once illustrious moniker has become the victim of its success.
After spending 25 years working with genuine vintage clothing, Watnick is exasperated by the misuse of the word vintage. She now asks celebrity customers who buy her vintage clothes for Hollywood's red carpets to say just the name of the designer and the year it was created. That way, she explains, "calling it vintage would just be redundant."
With the words "vintage" and "retro" being used so liberally in the fashion industry, what are their correct definitions? Retro applies to anything with the look of the past, from an Edwardian caplet to a pair of '60s platform shoes. Vintage, on the other hand, carries a similar resonance to furniture described as "antique"; experts believe that clothing, too, must have an appropriate, if not official, time lag.
"To be considered truly vintage a piece must be 20 years old or older," said Elizabeth Mason, owner of The Paper Bag Princess, a clothing boutique in Los Angeles.
If that is the classification that die-hard vintage fans adhere to then the dress that Roberts wore to the Oscars in 2001 would not be considered a vintage piece. Picked from Valentino's autumn/winter 1992 haute couture collection, the dress was only nine years old at the time.
Mason, who dressed Aniston in a vintage 1970s midnight-blue Halston Couture dress for the Emmy Awards this year, finds the trend of new vintage worrisome.
"Contemporary pieces don't have a backbone yet," she said. "I have never heard a woman scream with joy when picking out a modern piece - there is no sense of memory."
Watnick, who dressed Christina Ricci in Madame Grès and Vanessa Paradis in vintage Chanel for the Golden Globes, believes that the choice is as much about the person wearing the clothes as the history of the dresses.
"A woman who wears a vintage dress is making a statement about being an individual," Watnick said. "She is saying that it is O.K. to be different - and that is a great message to send out."
International Herald Tribune
"It's fabulous being a woman"
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Calina_Leigh
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