Joseph Ungoco for Second City Style Magazine
When we think of couture these days – IF we think of couture these
days – it is often as a relic of the past. Those of us who care about
such things seem enslaved to the images of the distant past that are
ingrained in our memories. The phrase “Haute Couture” conjures up dusty
postcards of iconic images from the deep recesses of our memories: of
1950’s fashion editors like Carmel Snow sitting in a dove grey
ballroom chair at Dior – her hat, gloves, and shoes perfectly matched to
her skirt suit; of 1960’s actresses like Audrey Hepburn dressed
for both her films and private life by Hubert de Givenchy himself
or of the Jet Set American socialites like Babe Paley and Gloria
Guinness glamorously jetting off to buy (sometimes the entire)
Balenciaga collection under the watchful eye of Cristobal himself; and of
1970’s American socialites like Nan Kempner and the French actress
Catherine Deneuve sitting front row at Yves St. Laurent and smoking
their way through their endless schedule of fittings.
In the 1980s, when design went over-the-top and the couture famously
started to go “D&D” – that’s Dallas and Djeddah, to you and me – we
Americans began to associate couture with the tall blond Texans like
Lynn Wyatt who favored Valentino and the first Mrs. Trump, Ivana in
Christian Lacroix bubble skirts and Thierry Mugler skirt suits.
Throughout the 1990’s we saw fewer and fewer images of American women in
couture in the glossy society pages of W magazine.
Read more "Ode To Haute Couture" hereSee the Top Ten Summer 2016 Trends for Women Over 40