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Posts Tagged ‘Paris couture’

The Duchess of Windsor filled her empty life by buying expensive clothes and getting the Duke to buy her costly jewels. She was always immaculately dressed and never casual. In 1935, she made the Paris Couture best-dressed list and remained there for 40 years.

Wallis, the Duchess of Windsor (1896-1986), is remembered for her stylishness. She filled her empty life by buying expensive clothes from the big Paris fashion houses like Chanel and getting the Duke to buy her costly jewels from Cartier. The Duchess of Windsor was always immaculately dressed and never casual. In 1935, she made the Paris Couture best-dressed list and remained there for 40 years.

In my previous post, “Coco Chanel, Nazi Lovers, and the Windsor Set,” I described the wave of attention the Duke and Duchess of Windsor received when they settled in Paris in the late thirties. A glamorous social set of fashion designers, Nazi sympathizers, American heiresses, British ex-pats, and assorted other idle rich people welcomed the Windsors and became a sort of parallel court for the displaced royals. This French upper-crust group was dubbed “the Windsor Set.” The press buzzed about them like bees around a hive. All  their comings and goings, designer clothes, fancy homes, and elegant soirees were endlessly photographed and reported in the society columns of the day.

The Duchess and Duke of Windsor at hone

The Duchess and Duke of Windsor at home

At the center of this new social whirl was the Duchess of Windsor. She had never gotten over being snubbed by the British Royal Family and being barred from getting the attention she felt she and the Duke deserved.

Wallis had always been obsessed with her appearance. She knew she wasn’t a great beauty, having once said,

” Nobody ever called me beautiful, or even pretty.”

What she lacked in looks, she made up for in other ways. She selected simple, well-tailored clothes that accented her slim, almost boyish figure. Against this plain backdrop, she dripped with sometimes enormous jewels, sometimes mixing real gems with costume pieces, the real things being given to her by the Duke. Her taste ran to big colorful stones and yellow gold. She amassed a huge collection of jewelry which was sold at auction in 1987 for a record-shattering $50 million. “An 18-karat-gold cigarette case from Cartier—engraved with a map of Europe and set with 37 gems to mark the couple’s premarital holidays—sold for more than $290,000; Elizabeth Taylor phoned in a bid of $623,000 and snagged a diamond brooch.”

In 1949, the Duchess of Windsor acquired this diamond and sapphire panther pin from Cartier. The panther is crouched in a life like pose on a large perfect round cabochon star sapphire weighing 152.35 carats. This panther pin was one of the Duchess' favorite pieces which she frequently wore. It created an envy among other jewelry collectors and a demand for Cartier to produce more panther pieces. Today, the panther is a Cartier icon. The Duchess of Windsor's animal pieces became her signature.

In 1949, the Duchess of Windsor acquired this diamond and sapphire panther pin from Cartier. The panther is crouched in a life like pose on a large perfect round cabochon star sapphire weighing 152.35 carats. This panther pin was one of the Duchess' favorite pieces which she frequently wore. It created an envy among other jewelry collectors and a demand for Cartier to produce more panther pieces. Today, the panther is a Cartier icon. The Duchess of Windsor's animal pieces became her signature.

Wallis and Edward with best man Edward "Fruity" Metcalf at their royal wedding, June 3, 1937, at the Chateau de Cande, Mont, France

Wallis and Edward with best man Edward "Fruity" Metcalfe at their royal wedding, June 3, 1937, at the Chateau de Candé, Mont, France

Necklaces, bracelets, lapel pins – she had them all. The only gap in her jewelry collection was rings. The Duchess hated her hands. She thought they were big and ugly. (Notice the black gloves in the first photo above). Acclaimed British photographer Cecil Beaton photographed the Windsors many times. He took their wedding photos at the Chateau de Candé. Beaton remembered of that session that Wallis

“twisted and twirled her rugged hands. She laughed a square laugh, protruded her lower lip. Her eyes were excessively bright, slightly froglike, also wistful.”

 

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eugenie
As mentioned in yesterday’s post, Mary Todd Lincoln slavishly followed the fashion lead of the Empress Eugénie, Empress Consort of France (1853-1871), the wife of Napoléon III, Emperor of the French. The empress’ style was reported in detail by the Vogue magazine of the day, Godey’s Lady’s Book. In 1860, age 32, the Empress Eugénie was considered one of the most beautiful women in Europe. At a ball, she outshone all other women. It was said that every man was in love with her. Her friend, the Princess de Metternich recalled that, on one occasion, the empress was

“attired in a white gown spangled with silver and dressed with her most beautiful diamonds. She had carelessly thrown over her shoulders a sort of burnous of white embroidered with gold, and the murmurs of admiration followed her like a trail of lighted gunpowder.”

In 1862, the Empress Eugénie set the fashion world on fire. She appeared at the races, one of the biggest social events of the year, without a shawl, a bold move for a society woman, especially for an empress. She was wearing an elegant, off-the-shoulder gown by the very up-and-coming couturier Charles Frederick Worth, an Englishman who had recently opened the haute couture shop, “The House of Worth,” in Paris. The empress did not want the lovely gown hidden from view. The world of fashion took note. “The streets of Paris were soon buzzing with ladies without shawls.”

From her childhood days, Mary Todd Lincoln adored being the center of male attention. Once she became the First Lady, she longed to become a fashion trend setter. Ignoring the dowdy style of the English Queen Victoria, she modeled herself after Empress Eugénie, sticking flowers in her hair and bodice, piling on the jewels, and opting for expensive gowns that dipped in the bust and shoulder. Husband Abraham Lincoln called Mary’s dresses her “cat-tails.” Mary tried hard to be fashionably dressed but she was generally displeased with the result; the hooped dresses and yards of fabric swamped her short frame and the excess jewelry and ornamentation was overwhelming.

Mary Todd Lincoln in a photograph by Mathew Brady, November 1861, in a heavy white silk dress onto which Washington modiste Elizabeth Keckley had sewn 60 velvet bows and countless black dots.

Mary Todd Lincoln in a photograph by Mathew Brady, November 1861, in a heavy white silk dress onto which modiste Elizabeth Keckley had sewn 60 velvet bows and countless black dots.

Mary’s departure from the high-necked muslins worn by Western women brought swift condemnation from Oregon Senator James Nesmith, a guest at an 1862 East Room reception, who wrote to his wife of the 43-year-old “weak-minded Mrs. Lincoln and her sorry show of skin and bones. She had her bosom on exhibition, a flower pot on her head – There was a train of silk dragging on the floor behind her of several yards in length.” Mary Lincoln, continued the senator, who used to “cook Old Abe’s dinner and milk the cows,” now seemed eager “to exhibit her milking apparatus to public gaze.”

Mary’s plunging necklines caught Abe’s eye, too. “Whew,” he is quoted as saying, “our cat has a long tail tonight – if some of that tail was nearer the head, it would be in better style.”

(1) Baker, Jean H. Mary Todd Lincoln. (New York: W. W. Norton & Company, Inc., 1987)

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