An Unstylish Moment - New Years Eve 2013

We ponder extravagant party dresses during the winter holidays. So much excess, so much Cinderella. We drag out beaded ball gowns, cocktail frocks dripping with spangles and bangles, or pour ourselves into stretch lace minis. We get decked out like the halls--beribboned, sparkly, and blingy. The goal is absolute gorgeousness, the unforgettable kind that guarantees a steady stream of suitors in the New Year.

Well, I found the perfect outfit to ring in 2014--it doesn’t bling or zing, and it cost nothing. I shopped in my closet, and had my choice of animal prints, shimmering jewel colors, or vintage favorites. I finally settled on cozy and comfortable sweatpants and a fleece-lined hoodie. It’s perfect for this year’s NYE activity--staying in with my hubby, watching Monty Python, eating Indian take-out, and drinking Prosecco.

No inner debates over strapless vs sleeveless vs backless. Proper undergarments won’t matter. No shawl needed to warm bare shoulders. And if I fall asleep in my sweats, nothing gets crushed, torn, or rumpled. If I need opulence, I’ll slip on a cocktail ring.

Happy 2014 to my readers and supporters!  Each one of you is a source of inspiration.  Make this your most stylish year ever!

Glamour Puss

Edith Head

Today is eight-time Oscar winning costume designer Edith Head’s 116^th birthday, and I’d like to chat about glamour.  I’m a huge old movie fan.  I adore the old school glamour and melodrama, the scenery chewing of divas like Susan Hayward and Joan Crawford.  I gobble up the preposterous plots, gorgeous gowns and perfectly tailored ladylike suits.  

Ms. Head draped us in romance and allure in many classic films:  “All About Eve,” “Roman Holiday,” “Sunset Boulevard,” and “Rear Window” to name a few.  One of my favorite Edith Head designs is the breathtaking white strapless gown that she conceived for the 1951 film “A Place in the Sun.”  Elizabeth Taylor floated on that cloud of a dress and every aspiring prom queen that year wanted a knockoff of it.

Okay, now think about actors.  Could you get any sexier than Redford's and Newman's suits in “The Sting?”  Yep, Edith Head did that.  

I miss glamour.  Instead of cringing over stripped down looks or the stripper aesthetic I want to swoon over an impossibly beautiful gown or a sophisticated silhouette.  Where are the garments that make me want to kick up my heels?  

I kan’t kount on a Kardashian!

Elizabeth Taylor and Montgomery Clift in "A Place in the Sun"

Supreme Beings

Diana Ross, Mary Wilson, and Cindy Birdsong

Did you ever belt out “You Keep Me Hanging On” or “Love Child” in the shower?  Maybe you shouted your way through “Stop! In The Name of Love” on a drunken dare at a Karaoke joint?  If you can answer yes to either question and/or you love fashion, you had to see “Come See About Me,” a small but meaty exhibit of The Supremes gowns collected by Mary Wilson. 

The Supremes (nee The Primettes) were the top selling group at Motown in the 1960s.  The six divas (Diana Ross, Florence Ballard, Mary Wilson, later Cindy Birdsong, Jean Terrell, and Scherrie Payne) offered the world style and glamour on a magnitude never before seen in popular music. 

In their early days, Ms. Ross, Ms. Ballard, and Ms. Wilson made it a point to choose dresses that were a step up from what the average shopper could buy in the local department stores.  Their popularity rose during the 1960s and their daytime style evolved from modest sweaters and pencil skirts to crocheted mini skirts and thigh-high boots.  Evening/stage wear moved from sleek, elegant gowns to beaded mini dresses and bell-bottomed jumpsuits.  Early Supremes style also featured black wigs teased to a towering six inches.  Maybelline was the fourth Supreme.  Thick winged eyeliner and cheek-dusting lashes added to the girls’ allure and was as important as vocal harmony.

Their early style influences included Sophia Loren, Ruth Brown, Dakota Staton, and Jean Harlow.  Their costumes sprang from the minds from the hottest talent of the era, including designer Michael Travis, a former apprentice of Bob Mackie, choreographer Geoffrey Holder, and Mr. Mackie himself.  The sequin trees were picked clean under their watch.  Magical hands combined yards of velvet and chiffon with barrels of glass beads to create sparkling confections that every Barbie envied.

Many of the gowns on display were worn on 1960s TV variety shows such as "The Ed Sullivan Show," "The Hollywood Palace," and "The Flip Wilson Show."  The “Butterfly Gown” was designed for the NBC-TV special "TCB" (Taking Care of Business).  Check out the floor-length beaded sheath with a cape in the pic below.


My favorite images from the exhibit include a terrific photo montage featuring Diana Ross in a fierce metallic trench coat with matching boots; a promotional poster from the 1970s of Mary Wilson, Cindy Birdsong and Jean Terrell in carefully coiffed Afros; and the “Black Diamond Trench Coat” which rode the military style trend of the late 1960s.  This traffic-stopper is made of lustrous black silk and wool with sequin and rhinestone covered buttons.

The 1970s--post Diana Ross--featured bolder Supreme styles such as a deep purple jumpsuit with street sweeper bell bottoms and a snug little bolero jacket.  Gowns featured layers of feathers or pleats that made the wearer look as if she were floating above the floor.  There were cotton candy-colored gowns with an East African motif.

The Supremes were wonderful clothes horses.  They looked exceptional at a time when the world view of black women was one of us wearing rags on our heads and cradling mops.  Their clothes were exquisitely tailored and elegant.  The girls rocked brilliant sapphire suits, sumptuous white fur stoles, and leopard pillbox hats during the day, and shimmered in pearls, satin and exquisite lace onstage.  Yep--they were divas and this exhibit proves it!

Florence Ballard, Mary Wilson, Diana Ross

The "Butterfly" Dress

Treasures

Walking on Air