Find: Super Chanel Runway Cuffs Via Katy Kane

Okay, so at the weekly finds we focus on accessories that make us dream, deals, couture and whatever inspires. The fashion accessories that blew my mind this week were : a pair of runway Chanel cuffs in leather and metal listed by veteran shop Katy Kane on 1stdibs.

Katy’s client attended haute couture shows regularly in the 80s and 90s and purchased these right off of the runway. Honestly, it doesn’t get much better than these! Right now the 1980s vintage designer accessories are picking up steam with collectors and wearers showing renewed interest. The big golden CC and powerful look are a no brainer for the Chanel lover.

You can see them linked here for more info.

KKChanel

Katy Kane image, via her 1stdibs storefront. You can shop them here.

 

Finding Lou Lou De La Falaise

                                                                    -The Glamorous Romantic-

Lou Lou de La Falaise

Lou Lou de La Falaise The Glamorous Romantic, rights reserved. From my copy of the text.

I knew of Lou Lou de La Falaise through her work with Yves Saint Laurent and via old photographs. Possibly my favorite image is of Lou Lou and Yves styling model and icon Willy Van Rooy. That moment captures her work philosophy, fashion style and tells you she is the cool girl. Not in the cliche way, but in a very natural fluid way.  She’s an it girl because her style seems to flow from within towards the surface.  Lou Lou was born of a complex and beautiful model mother, which the book by her name covers quite well. Her father was a French count.

Lou, Lou, Willy Van Rooy and Yves, 1980.

Lou, Lou, Willy Van Rooy and Yves, 1980. Image from text, copy also provided by Willy as seen in our interview with her.

However, through the descriptions in the book (such as that of Kenneth Jay Lane), I also became very interested in her strict, but stylish, creative, muse of a grandmother- Rhoda. Rhoda had two hobbies central to Lou Lou’s own personal character; jewelry making and gardening. But you’ll have to read the book for more about Lou Lou’s formative years! Her personal, love life and career sort of intertwine in the book giving us an idea of how she arrived at YSL’s house so to speak. The journey is so well described by Ariel de Ravenel and Natasha Fraser-Cavassoni…

Her relationship with Yves Saint Laurent was a deep and meaningful partnership, which produced so many outstanding fashion accessories and beyond, so the book really is a truly hypnotic read. I found her years spent working after YSL and her work ethic overall very inspiring. The images of her creations for Yves are illuminated by how she actually wore jewelry throughout the images accompanying the text.  The photographs of her style are much welcomed and absolutely essential.  The book is not to be missed (Pierre Berge’s forward for instance) and provides wonderful quotes from fashion icons concerning Lou Lou, as well as building a foundation for readers concerning why she was so essential to one of the most beloved and talented fashion designers that ever lived.

YSL LOU Cuffs

Lou Lou de La Falaise The Glamorous Romantic, rights reserved. From my copy of the text.

To quote the book and Yves:

“I tell myself that I am truly fortunate to have had Lou Lou at my side all of these years because there isn’t a day that goes by when she doesn’t fill me with wonder” (Lou Lou de La Falaise, 132).

Lou LouTurkmen1

*IMAGES: Credit-Lou Lou de La Falaise The Glamorous Romantic, rights reserved. I have included my favorite photos from the book in this review. I am drawn to her ever present vintage/antique Turkmen silver cuffs which she mixed with other accessories, seen in two images included. However possibly my favorite cuffs she did, were for YSL haute couture. These in my mind are some of the most telling pieces she designed. They mix that chic, modern and bohemian aesthetic perfectly- that I also ascribe to and love so innately.  They are large, not to be missed, a bit wild, yet refined…..

It is at this point I pause… I found that the complete review had already been done so well, as the book released in October of this year. Our blog relaunch was in wild swing at that time so rather than not post I did want to highlight this book I enjoyed so much.  For a more detailed description: click here.

The Costume Jewelry Collection of Barbara Berger: Taking on the World of Fashion Jewelry

Trifari, 40s Fruit Salad Bracelet.PHOTO CREDIT: © Pablo Esteva

What attracts us wearers and collectors of jewelry to costume pieces? Many important costume jewelry collections are owned by those who can certainly afford the real thing, Barbara herself was the daughter of a diamond merchant/jeweler.   One is free to re-imagine themselves when they wear it. That is why I wear it and the bigger the better. I personally have always thought why wear jewelry if you can’t enjoy it or see it?  I love ethnic designs/statement pieces and Iris Apfel has always been an icon to me. I came to find out this adoration of the statement piece and Iris, I also shared with Barbara as well. Costume jewelry lets the design and intention really shine. As Barbara pointed out, “the construction is often similar to that of fine pieces”, She painted an image to me during her talk, that she feels there seems to be no bounds to it and that it sort of is freeing or liberating. 

Elsa Schiaparelli, 1938.Ostrich pendants. Circus collection.PHOTO CREDIT: © Pablo Esteva

Barbara Berger has put together one amazing collection and David McFadden, Chief Curator, and Harrice Simons Miller, Guest Curator along with Dorothy Globus, Curator of Exhibitions have organized one stunning show.  Harrice Simons Miller is a consultant to Christies and was brought in to appraise and catalog Elizabeth Taylor’s costume jewelry as well. She wrote the first book I ever bought about collecting and valuing costume jewelry. Collectors may also remember her fab book on Kenneth Jay Lane jewelry!

Miriam Haskell, late 50s example from the Berger collection. Also featured in Miriam Haskell Jewelry by Cathy Gordon and Sheila Pamfiloff. It is a sort of Haskell holy grail piece. PHOTO CREDIT: © Pablo Esteva

Barbara’s life work and passion spoke for themselves at the opening and her discussion with the curators at MAD museum New York. This collection has never been shown in the United States.  I was there, practically running in, as the doors opened on the show.  The full scale of her archive reaches beyond 4,000 pieces and growing. The exhibition houses 450 well chosen iconic examples including jewelry by: Lanvin, Miriam Haskell, Valentino, Coppola e Toppo, Pucci, Kenneth Jay Lane, Countess Zoltowska/Cis, Oscar de La Renta, Mimi Di N. Balenciaga, Maison Gripoix, Marcel Boucher, Trifari, Pierre Cardin, Chanel (she owns one of the most important collection of Chanel jewelry),David Mandel, Lawrence Vrba, Iradj Moini,Joseff-Hollywood, Robert Sorrell, Elsa Schiaparelli and many more. The list includes fantastic vintage examples and recent new designers.  If you are a collector or wearer you may have become a little dizzy at the thought, I know I did when I entered the show. I was literally drunk on jewelry from costume to couture to everything in between.

Chanel feather necklace, Barbara Berger collection. Sarara Vintage image.

Barbara, began collecting after her mother’s death at about age 13. She acquired Chanel earrings at a Parisian flea market. They reminded them of her mother, her style, essence and way of putting herself together.  From the beginning, you can see that fashion jewelry meant something to her on a personal level. She remembers where she got each piece and their stories.  She falls in love with the presence and aesthetic of each example of the jewelry she purchases for the collection. It has to speak to her, be a statement piece, scale and size matters….. She made it clear at her talk that she doesn’t just buy a piece for the collection because it is signed, it has to have that something that makes it great.  She wasn’t focused on the history but the essence.  She even admits that for the exhibit she left the historical research to Harrice.  

As Barbara stated at the “All the Brilliant Facets” talk:

“The size of the jewelry is important, because jewelry gives a woman power, it has to be dramatic. A woman has to feel she can take on the world.  I collect dream jewelry”. (Barbara Berger, All the Brilliant Facets”).

Mimi Di N, 60s-70s. PHOTO CREDIT: © Pablo Esteva


Barbara’s passion as well as creative insight
 can be seen through this very extensive collection. She will be donating some examples to the 
Museum of Arts and Design at 2 Columbus Circle, permanent archives in NYC. Now with the publication of Fashion Jewelry the Collection of Barbara Berger, published by Assouline,  Barbara has a beautifully photographed accompaniment to the exhibition. I purchased a signed copy of the book at the exhibit and it is indeed a visual feast.

Cover jewelry by Daniel Von Weinberger, 2008-9.PHOTO CREDIT: © Pablo Esteva

During her talk at Mad on Thursday, she and the rest of the panel involved, including Harrice, illuminated the history of the collection and how it was organized.  Harrice’s story of how costume jewelry, as a phrase, was born through Hobe’s relationship with costume design/film was interesting. “It was jewelry for the costumes, made for Florenz Ziegfeld”  she said.  Barbara also painted a colorful story of her life through jewelry.  Many of her friends, interesting comrades, and fellow jewelry lovers were present. Designers whose jewelry is in the exhibition Iradj Mioni, David Mandel and Robert Sorrell were counted among the attendees.  Iradj and Robert were very interesting to talk to in their own right and I can see why Barbara counts them among friends.  It was clear the designers themselves are important to her, as she included living and contemporary makers in the exhibit. The show represents around 80 designers.  She wore stunning large Iradj earrings and one of her own designs in the form of a brooch pictured below, as she talked to the audience. 

Barbara Berger, left with me before the discussion, image Sarara Vintage
Chanel piece from the Mad Museum exhibit. Berger collection. Sarara Vintage image.

Barbara’s credo spoken at the talk was to mix fine with costume jewelry and to try to always wear earrings. “Ears are a very sexy part of a woman’s body”.   She mused about the hunt, the creation of her collection, and the genius of Miriam Haskell. 

Frank Hess, Miriam Haskell 1954.PHOTO CREDIT: © Pablo Esteva

                                                                   The Exhibit:

Entry way image, contemporary designer body armor style necklace. Sarara Vintage image.
William DeLillo necklace, vintage 1969. From the exhibit. Image Sarara Vintage.
Exhibit entrance, displays. Sarara Vintage, rights reserved.
Pucci by Coppola e Toppo necklaces, 1960s. Sarara Vintage image.

My impression from the beginning was that they created a jewelry show that relayed the history and passion of costume and fashion. The displays were so well done, hanging examples in cases allowed one to see the pieces from all angles, large necklaces were hand knotted onto plum backdrops and hung seamlessly, cases allowed the pieces to be viewed without distraction or clutter.  There were even drawers full, a bonus selection to look through so to speak, covered in lucite cases. I do want to make it clear that the pieces in the drawer are not part of Barbara’s collection, which was also mentioned to me at the talk as well.  They belong to the museum’s permanent collection just to keep it clear as you view them. 

1960s Pierre Cardin and Paco Rabanne examples. Barbara Berger collection, MAD museum.
Valentino, 1970s. Made by Coppola e Toppo. Exhibit example. Sarara Vintage image.
Stunning 1920s-30s examples. Barbara Berger Collection. Sarara Vintage image.
1980s Chanel pendant, one of my favorite pieces. Sarara Vintage image, right reserved.
Miriam Haskell. Barbara Berger Collection. Sarara Vintage image.
David Mandel, 2000. Necklace detail. From exhibit. Sarara Vintage image.
Paco Rabanne, vintage necklace 1980s-90s. Barbara Berger exhibit.
Chanel section at the exhibit, various Maison Gripoix for Chanel examples featured.
Maggy Rouff, 50s-60s. Made by Maison Gripoix. Another favorite of mine from the exhibit. Sarara Vintage image.
Maison Gripoix, 2000. PHOTO CREDIT: © Pablo Esteva

I hope you enjoyed the exclusive images from inside the event and quotes by Barbara from her talk. I hope to finish up an interview with her at a future date, when she is back from her travels. Stay tuned as I’ll repost another article if that comes to fruition.  My advice if you are captivated by the images and depth of the show presented here, would be to take a boat, plane, carriage, walk no run to the show before it closes.   I have included various examples not in the text, and there are many others in both the text and exhibit still to see. The exhibit is truly a break from the mundane into a fantasy world of paste stones, cut glass and beyond. Follow me on instagram to see even more images from the show and a slew of designer and couture jewelry as they come into the shop




MAD Museum press release and information:


Fashion Jewelry: The Collection of Barbara Berger will be an eye-opening presentation of necklaces, bracelets, and earrings, many of them one-of-a-kind, drawn from the world-renowned collection of Barbara Berger. Featured designers include Kenneth Jay Lane, Lanvin, Missoni, Oscar de la Renta and Pucci. The exhibition will be on view at the Museum of Arts and Design from June 25 through September 22, 2013 (a portion of the exhibition will remain open until January 20, 2014).

Fashion Jewelry: The Collection of Barbara Berger is organized by David McFadden, William and Mildred Lasdon Chief Curator at the Museum of Arts and Design, in collaboration with jewelry historian Harrice Simons Miller, as guest curator.

Support for Fashion Jewelry: The Collection of Barbara Berger generously provided by Miriam Haskell, with additional support from KLM Royal Dutch Airlines, the official airline of MAD.

PUBLICATION

The exhibition is accompanied by a lavishly illustrated publication on the Berger collection published by Assouline in 2013 titled Fashion Jewelry: The Collection of Barbara Berger. The book includes forewords by Pamela Golbin and Iris Apfel and an essay on the history of fashion jewelry in the Berger Collection by Harrice Miller.

*** ORIGINALLY Published 7/11/13- part of the archives transferred from our original blog site.