Word: vreeland
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...while he is still active. (The only other couturier to have been the subject of a one-man show at the Met: the Spanish designer Cristobal Balenciaga, in 1973.) The choice was made by the museum's director and by the Costume Institute's special consultant, Diana Vreeland, whose judgment it reflects. Says the legendary former editor of Vogue and Harper's Bazaar, with the certitude and gusto that she has retained into her eighth decade: "Saint Laurent has been built into the history of fashion now for a long time. Twenty-six years is the proof...
...never exaggerated, never mannish. Good tailoring is behind what is truly his greatest influence on clothing, the huge (172 outlets) international string of Rive Gauche shops, started in 1966, that sell Saint Laurent's ready-to-wear line. There are only a few examples in the museum show; Vreeland insists that the pieces are hard to find because owners refuse to part with treasures like the YSL classic military overcoat for the nine-month duration of the exhibition, and, she notes, "I don't blame them." Rive Gauche wear is hardly cheap ($1,500 for a wool suit...
These magnificent dresses-them selves worth a visit to the show-provide the dramatic centerpiece for the exhibition that lacks logic. Vreeland's practice of organizing the Met's fashion displays by color, mood, line and occasionally whim is not satisfactory. It is impossible to trace Saint Laurent's career or to see the variety in a given year without making the crowded circuit several times and squinting down at the labels. This is particularly frustrating, since the exhibition rooms, possibly suggesting the museum's priorities, are cramped and poky. One strategy might...
America's most influential interior decorators; in Nantucket, Mass. A onetime architecture student at Princeton, the ur bane, diminutive Baldwin emphasized elegance without sacrificing comfort. His clients included Cole Porter, Jacqueline Onassis and Diana Vreeland...
...clientele included Standard Oil Heiress Millicent Rogers, Lily Pons, Gypsy Rose Lee and assorted acolytes of high society, and this show, too, takes undue pains to pat the backs that were once adorned by James. But where Vreeland bows deep, the Brooklyn Museum's curator of costumes and textiles, Elizabeth Ann Coleman, nods briefly and moves on; she keeps the major focus fixed on clothes. James' designs had spiritual roots in the Belle Epoque, but their bold architecture makes them look right up to the minute-or, in the case of some dresses on display, just ahead...