Sunday, March 31, 2019

In the Market Report by Marilyn Kirschner


Thom Browne is the master of 'fooling' the eye Fall 2019 Ready-to-Wear
Photo: The Impression 

In honor of April 1st, April Fools’ Day, I wanted to revisit one of my favorite techniques, trompe l’oeil, which literally translates to “fool the eye”. Of course, that’s just only one of the many ways designers fool us – wink, wink- but enough said!

Vintage Piero Fornasetti Umbrella Stand

The art of creating the illusion of a 3rd dimension originated as a painting technique in Greece and Rome and has been used decoratively in home furnishings throughout the ages. This Teste Antiche umbrella stand, circa 1950-1959, by Piero Fornasetti, is a wonderful example, $3900.  More info/purchase

Elsa Schiaparelli was the first designer to utilize trompe l'oeil in her designs in the 20's and 30's, but Roberta di Camerino popularized this style in the 60's with her clothing, handbags, men's ties, and umbrellas. Giuliana Coen Camerino who founded the Venetian based house, passed away at the age of 89 in 2010. She created the name for her fashion house from the 1935 film “Roberta’’ starring Ginger Rogers and Fred Astaire, and her husband’s family name. Di Camerino won a Neiman Marcus Fashion Award in 1956 in recognition of the success and influence of her handbags in cut velvet which often featured trompe l’oeil buckles and flaps and were carried by such as Elizabeth Taylor and Grace Kelly.

Roberta di Camerino's colorful and  iconic designs on display
 at Palazzo  Fortuny in 2011 

Her designs were widely copied and although this upset her, Coco Chanel reassured her, telling her not to cry about being copied, but to 'cry the day they don't copy you', Her talents were recognized by the Whitney Museum of American Art with an exhibit in 1980. Another exhibition of her work was held at the Museum at FIT in late 1999. In 2011, the Palazzo Fortuny in Venice honored her work with an exhibition, “The Color Revolution”.

Roberta di Camerino 1970's trompe l'oeil dress 

Her museum-worthy pieces remain as covetable collector’s items. They are timeless and quite frankly, get better with age. Among the exemplary examples currently available on 1st dibs is this red white and blue striped dress that mimics a jacket, skirt, wide belt, and white shirt, $750.  More info/purchase

There were the ubiquitous trompe l'oeil t-shirts from the 70's (remember the ones with the tuxedo designs?), Lagerfeld's infamous 'shower head' dress, a number of outstanding versions from the late trick master Franco Moschino in the 80's, and then in the 90's, Christian Francis Roth made a name for himself with his whimsical trompe l'oeil suits and dresses. Jean Paul Gaultier has also dabbled in this art.

Jean Paul Gaultier vintage trompe l'oeil maxi dress 

This vintage Jean Paul Gaultier gray jersey maxi dress with detachable sleeves featuring a black and white x-ray screen print trompe l’œil jean jacket and jeans on the front and back is currently available on 1st dibs $1,385.11  More info/purchase

Nowadays, Thom Browne is the indisputable master of trompe l’oeil and it’s a recurring theme in his collections. He’s mastered the art and raised it to the level of couture with his mind boggling and luxurious handwork and fabric mixes that routinely include combinations of basket weave linen, bonded cotton, basket woven coated oxford, cotton oxford patchwork, double gazar, Duchesse silk, Aran cable artwork, silk hand loomed tweed, over dyed sheared mink, astrakhan, and various forms of embroidery, beadwork, and applique. They truly need to be seen up close to best appreciate them.

Amy Fine Collins wearing Thom Browne to the 2017 Met Gala 

Amy Fine Collins, who is a customer and a muse, often wears Thom’s designs and I’ve seen her in several of his trompe l’oeil dresses. One memorable example was the beaded number she wore to the 2017 Met Gala. It could not have been more perfect for the avant-garde theme, “Rei Kawakubo/Comme des Garçons: Art of the In-Between.”

Thom Browne Fall 2019 Ready-to-Wear
Photos: The Impression 

Approximately 25% of Thom’s fall 2019 collection, homage to his love of uniforms, was trompe l’oeil, and on the runway, these dresses were alternated with the fully layered ensembles they mirrored. Brilliant!

Thom Browne Fall 2019 Ready-to-Wear
Photos: The Impression 

It was clever and highly effective and it drove the point home. Given how strapped for time we are, how modern is it to be able to get dressed in layers with one quick gesture!

- Marilyn Kirschner

Saturday, March 30, 2019

Better Bets by Rhonda Erb

The Launch of Victor dE Souza Lipsticks

Victor dE Souza
Photos Rhonda Erb
Click images for full size views

It‘s an age old dilemma. If a lipstick is long lasting, it makes your lips feel dry. If a lipstick is moisturizing, it slides right off and is practically nonexistent after a few hours. Couture designer, Victor dE Souza, would appear to have found a solution to the problem with his new line of lipsticks that launched this week at the Cos Bar in New York City.

The Cos Bar

Although this is the first foray into the cosmetics industry for dE Souza, makeup and beauty are in his blood. “My father was a chemist. My mother was a hairstylist. My two sisters were makeup artists. My father did all of the products for them. I was born into this, I became a fashion designer, but this is my road.”


So what makes dE Souza’s lipsticks unique?  “I know for a fact if the color stays, it dries your lips and if it’s too moisturizing, the color disappears. This is the perfect mix,” he explains.  The secret lies in an encapsulated hyaluronic acid complex called hyla-bubble. When the lipstick is applied, it pops and releases moisture and pigment. What makes it truly special is that if your lips feel a little dry, you simply press them together and the color and moisture are resaturated. You don’t need to reapply. As an added plus, the lipstick case is made of metal, not plastic. It was designed by a jeweler and closes with a click, so you don’t have to worry about it opening in your cosmetic bag or purse.

Victor dE Sousa Collection 

 Thursday’s launch party at the Cos Bar drew a wide ranging assortment of guests including members of the press and close friends of the designer, like Jean Shafiroff,  who arrived wearing one of the dE Souza’s ensembles. Guests were also treated to a couture presentation by the designer, while they shopped and sipped cocktails. He describes his latest collection as drawing inspiration from “ a little bit of everything”; Victorian, romantic and the mostly forgotten Tartarian Empire.

Jean Shafiroff in a dress by Victor dE Sousa

The Cos Bar is the perfect location for dE Souza to launch his cosmetics line. He admires the retailer for the selectivity of its product line and also for its longevity in the retail industry. Though the Cos Bar is relatively new to New York, it dates back to 1976, when the first boutique opened in Aspen, Colorado as THE place to buy luxury cosmetic brands.

Victor dE Souza lipsticks come in seven colors, matte, prismatic and satin shades, and are available exclusively at the Cos Bar and

- Rhonda Erb

Thursday, March 28, 2019

In the Market Report by Marilyn Kirschner

Ken’s Downing’s ‘American Dream’: Make Retail Great Again!

Ken Downing
Photo: Neiman Marcus 

As senior vice president and fashion director for Neiman Marcus, and one of the most seasoned, passionate and outspoken voices in fashion and retail, with a HUGE customer following, Ken Downing has always been on a mission to make retail great. On Monday, after 28 years of working at the famed store, he will take his vast knowledge and experience and put on a new hat: creative officer of Triple Five Group, the Canadian developer known for combining retail and entertainment at humongous centers such as the Mall of America in Bloomington, Minnesota and the upcoming American Dream in East Rutherford, New Jersey. It’s a position created just for him.

Ken will officially report to American Dream president Don Ghermezian who hailed him as “one of the most well-known and well-respected executives in the luxury sector, whose leadership will strengthen our mission of providing one-of-a kind world-class destinations”. He will lead the design, advertising, marketing, public relations and events teams for existing, new and future projects and his responsibilities will extend beyond luxury retail to include all brands at the center, as well as entertainment and culinary offerings.

I spoke to Ken (by phone) on Thursday, right before his final day at Neiman Marcus, and asked him to weigh in on his exciting new role, his goals, the recent changes in the fashion landscape, New York Fashion Week, the CFDA Awards (and the announcement of Tom Ford) , and his favorite designers for fall 2019.

MK: What do you see as your biggest challenge as you take on your new position?
KD: I actually don’t feel there are a lot of challenges going forward because this role as chief creative officer for Triple Five really brings together all these skill sets that I’ve been honing over the many years not only at Neiman Marcus but at I.Magnin: my visual merchandising background, my understanding of special events, my experience in public relations, and my interaction with customers. My work in the market place with my merchants and my buying teams with various brands has really made me prepared for what we are looking to do going forward with the reinvention of the idea of big scale retail. I’ve helped to create a name and brand myself with the over the top events I’ve created at Neiman Marcus and fashion shows. And of course, there is my vast fashion knowledge. I will be translating all the good things that I’ve done with customers into what we’re doing at American Dream. You know, lessons learned are good for many locations and it’s exciting to be able to refresh things that are happening at Mall of Americas and the other projects that are on the books right now.

Actually, the biggest challenge I have is figuring out how to get to my new office in Rutherford New Jersey every day. My commuting up until now has been going to the airport and going to another city but I will still be doing a lot of travel in my new role. Our offices are right next to the American Dream project which is underway right now. I’m not inherently a commuter but I am starting on Monday so I’m sure I’ll figure it out pretty quickly.

I feel that so much of what I’ve done in the past has really prepared me for a role like this. When you work in retail, you see things that have been great successes, and things that have not been successful. I certainly have quite a library of knowledge from retail 20, 30 years ago up until today. Retail has had its own issues because of budget cutting and employee cutting, not to mention brick and mortar transitioning into online in a digital era which is not going anywhere.

We are all going to continue to shop online but there is a moment, a resurgence, and a want. Customers are looking for a journey, for an experience, and this is what we are going to give them. It’s really bringing creativity back into retail and bringing theatre back into retail. And when you look at the great retailers like Mr. Selfridge, Mr. Marcus, Mr. Bloomingdale, you can see that there were eras of great theater when retail thrived.

Now is not the time to pull back. It’s a time to push forward and be bold and very fearless in your approach to what you’re doing and I feel that with Don Ghermezian and the team at Triple Five there is a very fearless approach to shopping centers, creating Utopic environments that aren’t just about retail and about dining but about entertainment in an inclusive way. Certainly, there will be luxury retailers that are going to be in one of the wings of this facility in New Jersey, right across from New York. But it’s really more than that. It’s the idea of creating this inclusive community that’s welcoming to everyone and is more than just shopping through visually arresting things that are going to be exciting. The hope is that it will constantly be changing.

There is so much retail everywhere. It doesn’t matter where you are in the world; the shopping experience becomes very similar because every store has the tendency to look very much the same. Our hope is to create environments that allow us to transition and transform and change the attitude of the shopping environment seasonally and give a reason for the customer to want to come back because they are curious as to what we are doing next. Be it interactive art, or art exhibits, or music exhibits, or interesting new and emerging talent that will have their own shops that appear and will be there for a season. There are various things we are looking at to bring the excitement back to shopping and bring things into a shopping environment that customers are really going to want and really crave.

MK: I know you were at the Hudson Yards opening. What is your take?
KD: Well you know we have a Neiman Marcus there, and I am there until tomorrow. Our store has been really well received and there’s been a lot of foot traffic and the business has been very strong since the store opened and that’s a nice sign that a collection of stores that have come together does have life in Manhattan and beyond. Certainly, there are a lot of shopping centers that are not as exciting and we’ve seen them disappear. But I think it’s the excitement, the freshness, the mix, and certainly we feel that is important at Triple Five. What we are doing at the American Dream is a very eclectic mix.

Certainly there will be stores that people will know and will love and will be familiar with, but there will also be stores that won’t be as known. And there will be brands known to fashion insiders that may not be as known to the consumer. The fashion community is very insular. One of our challenges in the fashion community is that we assume that these under the radar brands have recognition. To have a platform to bring some of these unknown brands to life and put them in front of the customer beyond just the fashion community, and give them a chance, is one of our goals. What a great opportunity we have to really promote emerging talent and work with some of the great fashion schools like FIT and Parsons and bring the work (of some of these really brilliant young kids right out of school) to life.

With Don, no idea is too big and he is so NOT afraid of ANYTHING that it’s really refreshing. It’s easy to say “No” and in the world of retail and fashion it’s rare that people want to say “Yes, let’s do it!” That’s what we need more of and that’s what we need in order to bring retail back and make the retail experience exciting again.

MK: When did you first meet Don?
KD: We met briefly and we connected by an individual in New York who said “Your energy and his energy are going to be one in the same” and they were right!

MK: How did this all come about? Were you specifically seeking a change?
KD: There are a lot of changes happening in fashion today. There’s change everywhere and it’s certainly something I had been thinking about. I love Neiman Marcus. I’ve had an amazing career there and they’ve been very good to me and I have amazing customers who follow me around the country. At the Hudson Yards opening they came from all over the U.S to see the store and to see me and to share our love of the store. Leaving the customers is hard for me. I just had a huge show in Atlanta last night and it was very emotional as connected to the customer as I am. But I also know that reinvention is important not for the world of fashion and for retail but for me personally. I’d been thinking for some time: how relevant is the fashion show anymore? The fashion industry, with regards to fashion shows and fashion weeks, need to be more introspective and take more of a reality check as well. I’ve found myself wondering if going to certain shows is really the best use of my time and my talent and I think I can have an enormous impact on retail and where retail is going to go, by bringing new ideas and a new perspective back into retail through an entirely different lens as a retailer; refreshing and revitalizing it.

MK: What are the biggest challenges with regards to big malls?
KD: I like to say that what we are doing is big retail, but its retail at a very human scale. And I want it to have a very human touch which is something Don and I feel really passionate about. You can have a huge facility; an enormous shopping utopia, but it can still be very human of scale and very human of touch, making you feel as though it’s your neighborhood and where you want to be. American Dream is a former mall that was under construction and we’ve gutted the entire structure and made it larger and refreshed the architecture and the interior spaces. It’s nothing like its former self. One of the few things still intact is a ski slope where it snows and one of the things I’m super crazy to get done is once we open, I’m going to do a fashion show on a ski slope so I am going to be looking for models who actually know how to ski and I know they’re out there. Even the ski slope has been re envisioned and will look NOTHING like it was originally.

MK: How do you feel about Calvin Klein not doing a collection going forward, and the departure of Raf Simons?
KD: I am a huge fan of Raf Simons and of Raf being at Calvin Klein but any business is like a relationship. And if the relationship between the creative and business people wasn’t what they were anticipating, it’s probably better for both parties not to go forward. I was excited that Calvin Klein had another life ahead of it and it was exciting to hear customers talking about Calvin Klein again and hearing the name Calvin Klein back in the fashion conversation because it hadn’t been for a long time. It was nice to see the New York Fashion Week calendar with Calvin Klein on it in an important way. We are all stronger in the U.S when we all support American brands and I feel it’s a loss on the calendar but it’s their decision not to have a collection. Anyway, that can change. They might decide they want a collection again in a few years.

MK: What are your thoughts on NYFW? You once said there were too many formal shows and not enough presentations.
KD: I think with NYFW and all the other fashion weeks, we are seeing fewer and fewer shows, but I still feel it can be a little tightened. All fashion weeks need a little bit of a refresh and people need to be introspective and take a look at it. Everyone is saying that but some mumble about it under their breath but to me, it feels still very long.

What’s unfortunate is that in New York, there are some really great shows but because it seems to go on FOREVER, by the time the week is over, you forgot about the great things that started the week. There is so much in between that doesn’t really captivate. When there are powerful shows that fill the calendar and have something to say and represent New York at its finest, that is when NY feels its most vital.

MK: What did you think about Celine and Hedi’s new direction?
KD: I was happy to see that after Hedi made his strong statement about what his DNA was, that he really took a retrospective look into Celine and brought us a collection that felt like it was more Celine than where he had been, and for that I was happy. Hedi is very good at taking a message and driving it home in a very powerful way and I think it will be a couple of more seasons of those power messages that he will deliver that will eventually define exactly what he sees happening at Celine. This show had little to do with his inaugural show but there’s always a method to the madness behind what he does; it will come to light. I think he’s a super talent and a major force in the industry.

MK: What designers do you consider to be overrated?
KD: I can’t say that (laughing). I think there are designers who do amazing things one season and next season may not be their greatest. But they eventually come back. There is great talent and a lot of diversity. There are many people out there looking for clothes and there is such diversity on how to dress and that is a good thing. You can choose how you want to look and who you want to be and there’s a designer out there to help you do that.

MK: What were your favorite collections for fall 2019?
KD: Miuccia Prada who was brilliant this season. I liked the dark romance, the articulated couture flowers that were manipulated not only on the floral dresses but on the army woolens her use of nylon the romanticism of her lace and the capes that played back to the militaristic ideas. I thought that was a very brilliant Prada show. It was one of my favorites for some time. I also liked Fendi and Dolce & Gabbana in Milan. In London: Victoria Beckham, Burberry, JW Anderson In Paris: Balenciaga, Dries Van Noten, Valentino, Chanel, Alexander McQueen. In New York I thought Oscar was beautiful. The customers have been loving the clothes and I thought it was a great collection. Gabriela Hearst also topped my list as did Michael Kors. His romp with Studio 54 was super fun it was high energy, great entertainment, and individually, amazing clothes when you go back to the showroom. The customers are going to be very excited about it. I love that he took the idea of a fashion show and he brought great entertainment back to life with a fashion show and that’s terrific.

Marc Jacobs was amazing. Sometimes when you see those amazing confections they don’t always end up getting translated into a collection that shows up in a store but a lot of his clothes are being made which is really great. He’s taken this extreme volume idea but did it in a way that is going to translate for a lot of women. The show was really strong! He’s always been such a great talent and really keeps the energy of New York there and he is always anticipating the next moment, and for that I have great respect for Marc. He is a creative genius and he never disappoints us when he delivers on the runway.

MK: Let’s talk about the CFDA Awards: Do you agree with Vanessa Friedman  who noted that she had long had issues with the increasing confused prize giving in the designer of the year category. In a recent article, she proposed that the glamorous glitzy fundraiser might focus on the special honors that recognize achievement over time and that we should choose "Designer of the Year" every five years so that it would not feel like a "high school popularity contest".
KD: I think there is a lot of truth to that but also the CFDA raises a lot of money through that event which goes to do good work in the city and to be supportive of the industry and the talents that are out there. It’s certainly an award show but also an important fundraiser.

MK: What are your thoughts on Tom Ford?
KD: I love Tom and am waiting to hear what his vision for the CFDA is so I have no comment yet. I know that he wants to make it relevant but I’m waiting for him to get here and make his statement on what he’s actually going to be doing at the CFDA.  I’m wishing him all the best.

MK: I know one thing; he’s going to want to make the CFDA “Fucking Fabulous”!
KD: (Laughing) Let’s hope so!!!

- Marilyn Kirschner

Wednesdays at Michael’s by Diane Clehane

Lunch with a Legendary Rock Band's Biographer

David Browne & Diane Clehane

I’m back! Oh, how I have missed the gang at Michael’s and my weekly lunches with the fashionable, fascinating and fabulous crowd. Walking through the door at 55th and Fifth today felt like a long-awaited homecoming (Thank you to everyone who let me know I was missed). I was happy to see that the dining room was filled with the usual assortment of famous faces, media mavens and machers. I jumped right into the deep end.

While waiting for my lunch date to arrive, I spotted Kathie Lee Gifford as she sailed by on her way to her table with her friends Eva Mohr and Rikki Klieman, who, it must be said, offered up a scathing analysis last week on “CBS This Morning” on what could happen to the bulldozer parents including actresses Felicity Huffman and Lori Loughlin who allegedly paid big bucks to have their children admitted to top colleges. Yikes. Trust me, you want Rikki on your side. The ladies seemed to be celebrating something and Kathie Lee took some important calls at the table. Big doings, but I can’t tell you what about because they left early before I could go over to say ‘hello.’ Next time.

I did get to talk to former Connecticut governor Dan Malloy who was sitting in the lounge leafing through a copy of Us Weekly waiting for the dining room to open. I introduced myself, telling him I was one of his former constituents. He was very pleasant, offering a handshake and big smile (Mr. Malloy is quite dashing in person). I asked him if he was enjoying not being governor and he replied with a very enthusiastic, ‘Yes!’ Then I asked him what he was doing now. He cast a sideways glance at the notebook and pen I was holding before answering. When I explained I write a column about the goings on at Michael’s on Wednesdays, he said, “Having lunch here!” You can take the politician out of politics, but you can’t take the politics out of the (former) politician. Later, he gave me a jaunty wave on his way back to the Garden Room.

Precisely at the appointed hour, PR maven extraordinaire Judy Twersky arrived with this week’s interviewee, Rolling Stone’s senior writer and author David Browne. Judy, as you may recall, arranged some of my most memorable lunches including my confab with Princess Diana’s brother, Charles Spencer and my sit-down with HBO’s former president of documentary films-turned-best-selling author Sheila Nevins. Judy is something of a literary fairy godmother in her ability to make authors’ publicity dreams come true. To wit: Page Six had a dishy item this week involving David’s new book, Crosby, Stills, Nash & Young the Wild, Definitive Saga of Rock’s Greatest Supergroup (Hachette) which revealed Graham Nash had dated Barbra Streisand in 1972 while she was in San Francisco making the comedy, What’s Up Doc.

It turns out that while researching the book (due out April 2), David came upon an old gossip column item about the unlikely pairing. Nash confirmed he had several dinner dates with the diva during an interview for the book, but gallantly added they’d never slept together. Now that’s news you can use.

We settled in at my usual perch (Table 27) and got right to it. I was astonished to learn that David was the author of five previous books including the much-heralded Fire and Rain: The Beatles, Simon & Garfunkel, CSNY and the Lost Story of 1970 in addition to his gig at Rolling Stone. He has been writing for them for decades but turns out he just joined the magazine as a full-time staffer in January of this year having been a contract writer since 2008. That’s right, folks. There are magazines that are actually hiring journalists these days. “Jay Penske had a great idea to invest in writers and hire more staff,” said David between bites of his Cobb salad. “It was an offer I couldn’t refuse but I miss my dog.”

David has some serious credentials chronicling the lives of musicians and their music. He started freelancing for Rolling Stone in 1987 and then moved to Entertainment Weekly in 1989. He was promoted to music critic 1993, a position he held until 2006. He’s also penned pieces for The New York Times and New York.

Growing up in Clifton, New Jersey in the seventies, ten-year old David first heard CSNY while sitting in the backseat of his parent’s car. By the time he was 13, he was playing the band’s album, Déjà Vu, on his older sister’s stereo. “They were already these mythical figures by then,” he said. “I loved their music. They had a distinct style and a fascinating dynamic.” Too young to attend Woodstock, he finally saw CSNY live for the first time in 1977 at Madison Square Garden. “They were nosebleed seats,” said David. “But it was still really exciting.”

By the time he was a junior in high school, David had been thinking about “what a cool job it would be” to write about music and had to fill out a questionnaire about potential future careers. Among a long list of professions, there, at the bottom of the page, was ‘journalist.’ “Something about seeing that made it official.” He majored in journalism at NYU and minored in music. David said he “had no idea” if a career covering rock musicians “was plausible,” but he knew if it were, he was going to do it.

David told me he was influenced by the writing of Gay Talese and Joan Didion. “I loved their approach to narrative writing,” he said. “There was something so poetic and lyrical about it.” He became fascinated with biographies early on after picking up a book on Montgomery Clift his mother was reading in the late seventies. David knew nothing about the late actor but was drawn into his life story by the writing. “He sounded like an interesting guy and I wound up reading the whole thing.”

In his own books, David told me he prefers the “you are there” style of storytelling. “I get frustrated by biographies that are more philosophical than vivid.” Fittingly, ‘vivid’ is the perfect word to describe David’s new book, a biography of CSNY that reads like a novel. Timed to coincide with two 50th landmark anniversaries: the release of the band’s classic album, Crosby, Stills & Nash and then, when shortly afterwards Neil Young joined them to play at the historic Woodstock festival in August in 1969, the book chronicles of the lives and careers of the members of one of rock’s “longest-running dysfunctional” bands over the course of five decades.

It’s filled with fresh insights and anecdotes including how the members of the band often shared a revolving door of girlfriends (like Joni Mitchell and Rita Coolidge) and how during the 1974 “Doom Tour” of stadiums, one staffer’s job was to go through scores of cigarette cartons and replace the tobacco with marijuana.

 Amazingly the full history iconic rock band’s “fraught world of reuniting and breaking up” as David described it, had never been tackled in a book. So, in 2016, he decided to delve into their fascinating lives and careers in earnest. Over the course of a little over two years, David interviewed 100 people including Nash and Crosby. (Neil Young never responded to any inquires and Stephen Stills publicist informed David the rocker was writing his own biography.)

All of this made me wonder how David could coalesce the four band members’ stories and recollections as well as those who knew, worked – and slept with them into one compelling narrative. “I was talking to people about things that happened fifty years ago so memories can be spotty, it was my job to create a timeline” (which is how he found the Nash-Streisand item). Part of putting the pieces of the puzzle together involved visiting all their former houses. David showed me photos of some of the locations on his phone including the Los Angeles house Nash lived in with Joni Mitchell which inspired “Our House.” The brown cottage-like structure was, indeed, ‘a very, very, very fine house.’

David shares his New York home with his wife Maggie Murphy, who he met at NYU when both were working on the school’s now-defunct alternative newspaper, the Courier. Murphy is now a VP at Audible overseeing content. “My wife sometimes edits me, which is a good thing,” he said.

If you want to hear more about the glory days of CSNY, David will be on SiriusXM’s morning show, Feedback next Tuesday morning and appearing at Strand Book Store later that night in conversation with Rolling Stone colleague and author Brian Hiatt, who has written a new book on Bruce Springsteen. He’ll also be at the Maplewood Book Festival in New Jersey on June 8.
As we finished up our lunch, I told David that with the incredible success of Bohemian Rhapsody and the upcoming Elton John bio-pic, this new book seemed perfect for the big screen treatment. “Think of all the great parts,” I said. Streisand could even make a cameo appearance as herself.

The scene

Seen & Heard Around the Room

Jimmy Finkelstein holding court on Table One … Jane Hartley on Two … Andy Stein on Three … Showtime’s Matt Blank on Four. Did you catch the recent Billions’ episode featuring a scene at Michael’s with series’ star Paul Giamatti’s character hatching some big deal with Donny Deutsch? (Does Donny ever wear anything but a t-shirt?) And that was proprietor Michael McCarty and GM Steve Millington were standing at the bar … Allen & Company’s Stan Shuman on Five.

Kathie Lee Gifford, Eva Mohr, Rikki Klieman and a well-dressed gent we didn’t recognize on Six … The Paley Center’s Maureen Reidy on Eight … Simon & Schuster’s Alice Mayhew on 14 … Jack Kliger and David Goldman on 18. Jack had some exciting news to share: the long-time publishing vet is now in his fifth week as president & CEO of the Museum of Jewish Heritage. A long-time board member of the museum, Jack was tapped for the top job when the previous CEO resigned. Mazel tov! … Producer Joan Gelman and radio’s grand dame Joan Hamburg on 20 … Yours truly, Judy Twersky and David Browne on 27 … ‘The Bar-ettes’ Kira Semler and Vi Huse having an elegant champagne lunch at the bar.

A final note -- While I’m still toiling away on some top-secret projects, Wednesdays at Michael’s will now run twice a month in this space. See you in two weeks!

Wednesday, March 27, 2019

New York Fashion Cool-Aid by Laurel Marcus

Exploring the Not Too Distant Past & the Future of Jewelry at MAD

Magnetized 3D phosphorescent brooches
Photos Laurel Marcus - click images for full-size views

It’s been 20 years since we thought the world would be ending – remember how we feared everyone’s computer would glitch, flights would be suspended mid-air and all manner of chaos would ensue. I’m still grappling with how all that time passed – now throw this exhibition at MAD into the mix. Interpreting conceptual Y2K jewelry for someone born, shall we say, pre-internet, is terrifying.

Holographic Smiley Jewelry

Even Sotheby’s SVP/ preeminent expert/ jeweler to the stars Frank Everett who was our Sotheby’s Preferred liaison last evening at the Museum of Arts and Design said he was here to learn. MAD Curator Kellie Riggs assisted by Guest Curator Barbara Paris Gifford led a tour of Non-Stick Nostalgia: Y2K Retrofuturism in Contemporary Jewelry (March 21 – July 21) featuring 29 makers born between 1977-1985. I brought a Millennial (my son) with me to (hopefully) translate.

Simon Marsiglia PWSCO, 2018. Mixed media.
 Photo by Veronika Vidø, courtesy the artist. 

“It’s about a new generation getting a voice,” Gifford explained. Several factors influenced this type of contemporary jewelry including “proliferation of new materials after the war, Bauhaus leaders coming to the U.S., and the G.I. bill which paid for art school for veterans.” This jewelry and its makers rejected the formerly commonplace use of precious metals and stones inviting jewelry to become a “more democratic pursuit.”

Garlic peel collar necklace by Verena Sieber-Fuchs 

Mentioning the garlic peel collar necklace by Verena Sieber-Fuchs on view in MAD Collects (till March 31) she posed the question of size and materials used, what constitutes jewelry and how it’s been elevated to an art form. Why do we wear something and what does it say about us? Of course, each generation must rebel against the inclination in the field – this one has additional identity issues to deal with thanks to our “ever-evolving digital labyrinth,” including social media and the re-creation of one’s “actualized” self in person versus online.

Tamagotchi-like jewelry

The exhibition is divided into three sections: Future Past, Gen Friction, and Hyperreality. There are also some exciting pieces from MAD’s permanent collection presenting “a historical view of aesthetics in Futurism in jewelry.” Future Past deals with a Pre-Y2K aesthetic; “pieces archetypal at their core” such as friendship necklaces, smileys, shiny rings and chains – a mixture of classic jewelry tropes, hip-hop and pop culture references. “By conjuring a feeling of youthful exploration and self-reconciliation, Future Past makes a fumbling statement about the fragmented free fall of identity formation, recalling a time of discovery when fewer were watching,” according to the wall text.

Ulricke Bahrs, Brooch c. 2000; Peter Chang, bracelet, 2000 

Gen Friction are those artists in the middle – “they’re innovative and accept technology but have a memory of the way things were before the digitalized memory,” according to Gifford. They may use and embrace 3D digital processes while still feeling nostalgia for the analog simplicities of their childhood. There’s a duality: “a sense of hope, as well as hints of nihilism.”

Mary Ann Scherr, Body/Air Sensor Belt, 1971 

Hyperreality deals with “a realm of high fantasy and implied futuristic functionality,” which is “potent enough to combat the darkest spirals of an increasingly image-based, digitized world.” Here you’ll find the humanoid virtual robots, (I hesitate to use the term A.I. such as fembot @lilmiquela) who has IG influencers looking just like her – the URL (web) versus IRL (real life) hybridity. “Millennials have been raised cyborg, and they know they are being viewed.  Unable to escape, nor necessarily willing, they represent themselves with a new kind of adornment to offset the pressure.”

Curator Kellie Riggs 

Curator Riggs is herself an artist – she has met nearly every one of these makers at Munich Jewellry Week billed as “a week dedicated to the most exquisite contemporary jewellry” which took place earlier this month.  Along with her curation, she also dyed and bleached many of the backdrops for these installations (the traditional white jewelry cube gets an update) as well as the fabric on the benches in the room. Riggs took us through the exhibition pointing out various themes that are expressed by its maker. “Who do you become when you wear something? Do (U2) Bono’s glasses give him confidence? Who would he be without them? It’s a self-schema,” she explained. I guess we old schoolers might call it a trademark. Food for thought: could it be a superpower like Superman’s cape? The idea of memory is also called into question: Computers have memory but isn’t it a play on memory with friendship jewelry – you have shared memories with a friend?

Annika Pettersson's Glitch in the Copy" brooches 

The idea of nostalgia in the title refers to the notion that “anything can be made new quickly and come back.” Beatrice Brovia’s works deal with adornment and sports culture – the idea of “receiving something to wear as a result of your success.” According to Riggs, Annika Pettersson’s “Glitch in the Copy” drew scathing reviews from an earlier viewer who just didn’t get it. Pettersson’s four brooches on display illustrate what happens when you copy ad infinitum. The artist digitally modeled the silhouette of a classic Victoria brooch, 3D-printed it in aluminum, 3D-scanned the print, and then 3D-printed the scan, twelve times over. “With each pass, the integrity of the copy is compromised through degradation and generational distortion” known as “acquired noise.” According to Gifford, this represents a feeling of technology disappointing us ergo nihilism. Darja Popolitova has said of her tactile, fluid shaped Narcissus brooches (plastic, silver, and chromed steel) that she likes the safety of wearing her jewelry on the internet but not in real life.

Ines Alpha (@inesalpha) uses iridescent 3D makeup in videos as her art form much as Rick Owens did in his Fall 2019 runway show featuring facial augmentation. “There’s something alien-like about their faces. We used to see people with green or blue hair online, but now you see it everywhere. People’s internet or personal selves and their real selves are now merging,” added Gifford. "It's a journey --whatever they’ve explored on Snapchat is working itself out in jewelry.”

- Laurel Marcus

Monday, March 25, 2019

In the Market Report by Marilyn Kirschner

Dress Me Up, Dress Me Down: Crazy Mixed-up Clothes for a Crazy Mixed-up World

Prada Fall 2019 Ready-to-Wear

There is no question that if you had to hang fall 2019 on a theme, it would be the renewed love affair with tailoring and haberdashery, and an overall dressed up mood. But there is a flip side to every coin and fall runways were all over the place and often contradictory.

Sure, there were collections that were the epitome of chic in a straightforward traditional way (Ralph Lauren, Saint Laurent, Brandon Maxwell, a nominee for the 2019 CFDA Womenswear Designer of the Year). But there were some that were nontraditional in their approach to glamour, if not a little offbeat, eccentric and quirky (put together but not quite) thanks to the use of odd coupling mixes, incongruous pairings, and high contrasts that on paper, might not seem to work. And that is precisely why they do. There’s a nutty charm and an imperfection that I find to be relevant and modern; crazy mixed-up clothes for a crazy mixed-up world! While there has been a move away from head to toe street wear and athletic wear, neither have completely disappeared. Designers have found inventive ways to add a dose of each, not to mention touches of utility, to offset and downplay the otherwise ladylike, couture like and dressed up.

Prada Fall 2019 Ready-to-Wear 

Fashion bipolarity: the push and pull between beauty and the beast, the decorative and the plain, masculine and feminine, day and evening, fantasy and reality, street wear and couture, is nothing new for Miuccia Prada. Her fall 2019 runway, dubbed “Anatomy of Romance” highlighted Miuccia’s ongoing fashion schizophrenia. While she showed a variety of shoes, including classic high heeled pumps and athletic trainers, pavement pounding thick crepe sole lace up boots were ubiquitous. They were shown with almost everything, from army green utility pieces to frocks made of sturdy menswear fabrics, and cocktail dresses and pencil skirts emblazoned with 3-D floral corsages.

Alexander McQueen Fall 2019 Ready-to-Wear 

Heavy lug soled lace up boots similarly brought everything down to reality at Alexander McQueen, including the dreamy evening wear. Sarah Burton, the 2019 CFDA International Award honoree, used them effectively throughout her powerfully beautiful collection inspired by Northern England (her home). It emphasized Savile row tailoring, amazing workmanship, sculptural details and construction.

Burberry Fall 2019 Ready-to-Wear  

High contrasts were at the heart of Riccardo Tisci’s second collection for Burberry which he named “Tempest,” in reference to “contrasts in British culture and weather.” It was dedicated to “the youth of today, to them having the courage to scream for what they believe in, for them to find the beauty in expressing their voice.” Riccardo wants to promote inclusivity and he is seeking to make the fabled British brand cross generational in its appeal. While there was much emphasis on tailoring and outerwear (naturally) Tisci often added elements of street wear (yes, lots of trainers) and punkish undertones (both of which he has been known for).

Marine Serre   Fall 2019 Ready-to-Wear 

The weather, or specifically, climate change, served as the jumping off point for Marine Serre a young highly inventive designer who always has a point of view. Her clothes never look like anyone else’s; from the signature bodysuits, the crescent moon motif, the coin decorations, and futuristic influences, to the inventive use of scarves, floating around the body, along with faux fur fonds.

Paco Rabanne Fall 2019 Ready-to-Wear

Paco Rabanne’s Julien Dossena took a breather from the label’s signature futuristic chain mail and focused instead on “special” pieces for a collection that was a wonderful hodgepodge mixing reference points, influences, fabrics, patterns, and decades.

Anderson Fall 2019 Ready-to-Wear 

JW Anderson’s London runway show, which emphasized offhanded mixes, was quirky, youthful, and couture like and was perfectly accessorized down to the massive gold chain chokers, the large diamante brooches, wide leather belts, and whimsical feather trimmed footwear. His beautifully constructed jackets, coats and capes, were offset with terrific mannish wide legged trousers, which were proposed for both day and evening.

Khaite Fall 2019 Ready-to-Wear 

Khaite’s Catherine Holstein, who was just named as a nominee in the 2019 CFDA Emerging Designer of the Year category, played with contrasts between day and evening, masculine and feminine, conventional and unconventional in her first formal runway show held in Brooklyn. Her first outfit set the tone: a ball skirt made of white cotton poplin paired with a white ribbed sweater with balloon sleeves. It was accessorized with leather boots, a capacious work ready leather tote bag, and one of her fabulous new statement making belts. Is it day or is it evening? I guess it’s for you to decide.

Jacquemus Fall 2019 Ready-to-Wear 

Almost no collection was as charmingly quirky as that of Simon Porte Jacquemus whose eponymous label is an ongoing homage to his elegant mother, and to his Provencal home. While the focus was on updated ladylike classics (coats, fisherman knit sweaters, skirts, dresses, cargo pants, trouser suits) that could be considered to be the epitome of elegant Parisian chic, it was the unorthodox way he played with scale and proportion (oversized hoop earrings, capacious slouchy shoulder bags, utilitarian belt bats that looked as though they could fit your worldly possessions, and teeny tiny doll size bags) that added the fun, joie de vivre spirit.

- Marilyn Kirschner

Wednesday, March 20, 2019

In the Market Report by Marilyn Kirschner

The Mad Genius of the Incomparable Bonnie Cashin: The Gift that Keeps on Giving!

There is so little in fashion that is original, and Bonnie Cashin (ca. 1908 – 2000) was a true original. I continue to be in awe of her incredible talent and her unparalleled contributions and was fortunate to have met her and see her at work in her extraordinary UN Plaza apartment/studio when I was a young fashion editor at Harper’s Bazaar in the ’70s.

Bonnie Cashin ensemble from the mid 70's 
Courtesy Dr. Stephanie Lake 

Among her inspired ideas: referencing ‘humble’ work clothes and using timeless shapes from the history of the world (military uniforms, togas, kimonos, ponchos, tunics, Noh coats). Inventive layering, mixing fabrics and textures (such as leather with tweed or mohair, and suede with canvas. The employment of new and exciting industrial-like metal closures instead of traditional buttons and zippers: dog leash clasps, brass turn locks and toggles (inspired by the ones that closed the top of her convertible). Handbags with double entries (when she worked at Coach, 1960 – 1975, she revolutionized the handbag); and “problem-solving” garments with multiple uses.

Then there were the coats with built-in coin purses and “pocketbook” pockets with latch closures. Her use of pockets, a signature, were often so pronounced (they were made for carrying books around), they obliterated the need for carrying a handbag, freeing your arms and keeping you unencumbered: the essence of modern.

She honestly thought outside the box. Everywhere I look, I see bits and pieces of Bonnie. Her work was highly influential but now seems so commonplace. Is it any wonder she has been a reference point for so many designers?

Decades ago, Bill Cunningham declared, “Bonnie Cashin should be immortalized by a national monument.”

Hubert de Givenchy said, “She has style. She is quite different from the others. I think Miss Cashin is one of the greatest designers in the world”.

Norman Norell once sent a telegram to Bonnie Cashin saying “You are the most original and creative talent we have.

Simon Doonan called her “A titaness of American fashion – a fascinating broad with more style and invention in her little finger than most of today’s designers have in their entire bodies!”

The Editorial proclaimed “Cashin did start conjuring the future, one so radical in philosophy that the rest of fashion is still chasing it, all these years later.”

Reed Krakoff hailed her as a “pioneer” way ahead of her time” one of the real creators of American Sportswear.”

The Economist observed “A single idea can give birth to products worth countless millions. [for example] Denim, a humble material . . . Bonnie Cashin’s “democratic look” is a reasonable runner-up.”

W Magazine called Bonnie Cashin “The most influential designer you’ve never heard of."

Dr. Stephanie Lake is on a mission to change that. She wants the world to recognize Bonnie’s work and for Bonnie to get her due credit. If anyone has the credentials and the background to illustrate how influential and relevant Bonnie’s work continues to be, and to create more awareness and appreciation for her unrivaled legacy, it is Dr. Lake who is only the 5th person to hold a Ph.D. in Decorative Arts, Design History, and Material Culture, the foremost Bonnie Cashin scholar in the world, AND heir to and owner of Bonnie Cashin’s personal archive, encompassing garments and accessories from the 1920s to the 1980s. She also designs her own line of extraordinary jewelry ( She and her husband Cory Lake reside in Minneapolis with their 5-year-old daughter Odette Elizabeth.

We initially met in 2016 when she was in New York for a book signing at Rizzoli for her 290-page hardcover monograph, “Bonnie Cashin: Chic Is Where You Find It,” Rizzoli New York (the forward is written by Jonathan Adler).If you haven’t read it, you should!  It’s truly inspirational, and a must-read for anyone interested in fashion and great design. I promise you won’t put it down and you will want to keep reading and rereading it. Not only is it filled with eye-catching color and black and white photographs and sketches of Bonnie’s remarkable, modern designs (I want it all), it is filled with Dr. Lake’s marvelously informative narrative, and Bonnie’s memorable quotes. Dr. Lake is currently working on another book, the ABC’s of Bonnie Cashin.

Dr. Stephanie Lake and Marilyn Kirschner wearing Bonnie Cashin 

I interviewed Dr. Lake over the weekend (by phone) a few days after an article appeared in WWD about her plans for a Bonnie Cashin documentary, and other projects in the works (including opening a corporate partnership). She was very forthright about the state of fashion and Bonnie Cashin’s place in American fashion, American culture, and fashion history. And she is so articulate and animated; you could literally feel the love, devotion, admiration, respect, and awe she feels about her subject. As she observed: “Bonnie is everywhere. She was a creative pioneer of truly modern clothes. It’s always a jaw-dropping moment to see the enormity of her influence in what we all wear. Her influence in fashion is unrivaled, as is the lack of awareness regarding the enormity of her contributions to that industry and American design as a whole. That is my role; to secure her place.”

“She is kind of a secret weapon for so many houses because they don’t know who she was (nor does an entire generation). That’s what I want to change. Clearly, we are in an era of referential fashion and Bonnie is such a great part of it. So much of what she created is in the mainstream of contemporary fashion. She deserves credit. The shaming aspect is perhaps inevitable, but it is not of great interest to me. I shy away from finger pointing, preferring to focus on her work, not on the designers copying her. That’s always a challenge with the editorial coverage that comes from this. It’s immediately about criticizing the designers who copied her instead of celebrating how relevant and inspiring her work is and how many revere her and how many devotees she has.”

Left: Bonnie Cashin left; Right: Raf Simons for Calvin Klein

“I started cashincopy on Instagram about 2 ½ years ago as a way to honor Bonnie’s unique legacy and trace her influence in today’s world. It was right after Raf Simons, in his first collection for Calvin Klein, appropriated her 1970’s orange cape with big zippers line for line. Diet Prada was all over it, and it became a big thing.”

Left: Bonnie Cashin; Right: JW Anderson

“JW Anderson did it for fall 2019 with a Bonnie Cashin cape from 1949. And it wasn’t the first time. For spring 2018, he showed a jersey and leather balloon sleeve dress from the mid-’70s that I wore and is hanging my closet. I have the only example of it in the world, it’s in my book, and it went into his collection in 5 iterations. After WWD reached out, Jonathan said backstage that he has always been inspired by postmodern design, and by Bonnie Cashin but that was solely the result of WWD asking. But I’m glad he said something. When it happened with Raf at Calvin Klein, there was no comment.”

“When her work is the source of design, and she is not recognized, it is a lost opportunity. If she is THAT inspirational and you are copying line for line, PLEASE PLEASE give her credit! It should always be a priority to acknowledge and honor pioneers in any field of endeavor, particularly a female visionary like Bonnie, whose work has been central to fashion for seventy years.The number of designers and brands that converge on her oeuvre for inspiration is astounding, and this has been the case for generations.”

“It’s a missed opportunity. Why not say, ‘’Yes, I’m so inspired by her I wanted to create this garment”? Just PLEASE give her credit. In Bonnie’s era (the 50’s) there were knockoffs, but they were done at a lower price range and were obviously done as knock-offs. That is not the era we are in now. There is a major conversation going on about copying, about creative inertia in fashion and a lot of things are spiraling in a lot of negative ways.”

“So I want to use Bonnie as an example; holding up the standards of what is important in American fashion and American design and what the possibilities are about being a truly creative, generative designer and what one person can accomplish within the field. And I want to reclaim her craftsmanship, her attention to detail, the personality, and the personal force that she was for fashion. She was so fiercely independent. Her designs reflected only her own interests and needs, and yet she created so much that is the foundation of American fashion, and she is not properly recognized for that.”

 “And it goes beyond fashion. It’s about culture and where this country is, and I think she is an antidote to so much negativity. She had so much wisdom and was such a brilliant woman. She is the prism to re re-engage with the best of American design and American fashion, and I want to move forward with her philosophy and her accomplishments. The timing is right. It’s a marvelous time to do that through the documentary and with our plans for a destination for people to reclaim what is positive.”

“Cory and I have what is arguably THE most significant clothing archive of any designer that is in private hands. It is owned solely by us, and it goes beyond just the garments themselves. It is an unbelievable circumstance. It is THE fashion fairytale. It’s an autobiographical and biographical archive. Not your usual archive . The storytelling content alone, the quotes alone are enough to feed a million Instagram feeds. It’s an aesthetic, intellectual, philosophical wonderland that is centered in fashion, and to translate that into film and into social media, and into a physical space that is a national treasure is what Cory and I are focused on.”

“The fact that Bonnie designed herself as my big sister said quite a lot about our relationship."

Cory, Odette, Dr. Stephanie Lake 

One of Odette’s first words was “Bonnie”; she grew up with her like a great aunt. She is so much part of our daily lives. It was meant to be.”

“Cory and I are fully philanthropic, we are art collectors, and I am only the fifth decorative arts scholar in the world. We have a family foundation which the archive is part of. We have a pretty serious foundation within the arts and with American culture and because we have the archive we really want to move towards creating a space where the archive is on view and the content is there. We envision a place where we can have events, where we can have programming, where we can start to create a physical destination as well as an intellectual one. We are taking our first steps and just looking at properties now. In the Twin Cities, there is a robust design community. We have major corporate entities like Target, 3M, and Cardell and there is no lack of support for the arts for really innovative initiatives like this.”

“The film is of course, one big part of it and I have lined up incredible advisors: Executive producer and film financier Stephanie Dillon, filmmaker Liz Goldwyn whose “Pretty Things” appeared on HBO, and Christine Walker, chief executive officer of the John Waters-founded Provincetown International Film Festival, have agreed to help guide her.”

Gloria Vanderbilt wearing Bonnie Cashin photo by Richard Avedon for Harper's Bazaar 1959

“We are talking with the team who is doing the Cardin documentary. Jonathan Adler and Simon Doonan, the Toledos, Cameron Silver have said yes to the film, Gloria Vanderbilt who was a client won’t appear on the film but has given us some amazing quotes and pictures of her wearing Bonnie’s designs that appeared in Harper’s Bazaar. I also have quotes from Isaac Mizrahi who was always influenced by her and who has given his blessing for the film. Jeffrey Banks is also participating. Everyone I have talked to said, “Let me know what to do to help” which is a testament to how important Bonnie is and how important this project is.”

“Moving forward now we are working to create this cultural space; taking the archive and transforming it into a cultural space to provide more access and create a destination. There’s the Fondation Pierre Bergé in Paris, which was established in 2002 as a way to conserve and promote Yves Saint Laurent’s work. There are places where this has been done for other artists of other types of art, but in America for fashion, there isn’t a private institute that resembles what Cory and I are building for Bonnie.”

Bonnie and I talked so much about these plans. I am in awe of how she articulated her vision fifty years ago, and how perfectly it fits within today’s fashion world. She saw the relevance of archives, the significance of history, and the desire for experience and storytelling of the highest order. Yet another way in which she was so ahead of her time.

“There are potential partners I want to start talking to. What I have to figure out is who is the most visionary. Who really sees Bonnie as the asset that she is? Is it through a cultural, corporate, or grant partnerships? Or all of the above. Who do I want to approach to direct the film and who do I want to create the look of that film and who do I approach to participate in the Cashin Institute and the physical space? And who is the best fit in terms of content and media exposure providing an audience for that? Minneapolis is interesting because of the wealth of cultural and corporate headquarters we have here. I think Tapestry which owns Coach and Kate Spade is interesting because they are trying to build this American group”.

“Bonnie’s legacy serves the industry and serves contemporary culture in such a meaningful way that it’s my responsibility to do everything that I can to serve her legacy best and to make an impact in the decorative art world and the fashion world. It’s an extraordinary honor, and a responsibility that I have”.

“Cory and I are young, and we are invested, and we are involved in the world around us and what we do to contribute to it. We want to create something visionary, significant, impactful, that is a legacy within fashion and for American culture, and for our own daughter. Bonnie is a national treasure, and she left her wonderland of an archive, her extraordinary legacy and her wishes in my hands. In revering her, there is only inexhaustible joy and inspiration.”

- Marilyn Kirschner