Decorating with Norma Kamali

There are so many fashion designers from the 1970s and 80s who unfortunately no longer receive the media coverage that they once did. Remember Jean-Charles de Castelbajac? He used to be everywhere. Same with Laura Biagiotti. One designer who still keeps on keeping on, though, is Norma Kamali. Although I suppose it could be said that Kamali's heyday was a few decades ago, she is still designing and innovating, a remarkable achievement in the fickle fashion world.

Although I was fairly familiar with Kamali, I did not know that she also designed home furnishings until I read a December 1988 HG article, the photos of which are seen here. At first glance, I assumed the photos depicted Kamali's grand apartment. I mean, I knew that Kamali was successful, but successful enough to live in such lavish surroundings? Turns out the Manhattan triplex was owned and occupied by someone who insisted upon anonymity. Kamali did, however, help to decorate the sumptuous apartment with pieces from her then new OMO home collection. The collection included upholstered pieces done up in black velvet, a wheat shaft table, and a fabulous mirror and ebonized wood dining table.

One thing that can be said about 1980s-era fashion is that the designers were not afraid to express their exuberant and at times over the top points of view. I suppose the same could be same of home furnishings of the era. And because I do have a nostalgic love of 80s fashion, I included a few vintage pieces from past Norma Kamali collections. Just read the captions with an Elsa Klensch accent and you'll swear you've been transported back to 1985.



The upholstered chairs, ottoman, and sofa were part of Kamali's Shape and Silhouette Collection.



Norma Kamali Plaid Pantsuit



The Wheat table and chairs, displayed in one corner of the salon, were part of Kamali's furniture collection.



Norma Kamali Metal Micro Studded Dress




Peering into the dining room.



Norma Kamali Leopard Print Dress



The ebonized wood and mirror inlay dining table, part of Kamali's OMO Home Collection, was set with the homeowner's collection of antique and vintage silver.



Norma Kamali Goddess Dress



The Salon. The crystal basket on the mantelpiece was once a chandelier.




Kamali's glamorous and eccentrically decorated dressing table.


All photos from House & Garden, December 1988; Eric Boman photographer.

Atelier Safrane Cortambert

I wish that I could say my introduction to Atelier Safrane Cortambert, a French embroidery house whose needlework has graced the collections of Dior, Chanel, and Balenciaga, was thanks to a couture frock hanging in my closet. Regretfully, that's not the case. In fact, it was while surfing the web that I stumbled upon their website. But no matter how I learned of Safrane Cortambert, I'm glad that I did. I find it both refreshing and reassuring to know that there are still workshops where the art of needlework is alive and well and hopefully flourishing.

As beautiful as the website's photos are, I'm sure that they don't do their work justice. Embroidery like this is best appreciated up close where it can be both seen and touched. Below you can see some examples of their work, including photos of chairs that have been embroidered by the atelier. And not that I've ever not appreciated couture clothing, but the work of Safrane Cortambert certainly gives me new insight into the artistry and technical skill that defines couture.
































All photos courtesy of Atelier Safrane Cortambert

Autobiography of a Fashion Designer Ralph Rucci

I've always admired the work of fashion designer Ralph Rucci, though sadly I don't own any of his clothing. His creations appeal to me because of their clean lines and architectural shapes, something that I think looks especially flattering on tall, thin women. But it's the details that Rucci uses to embellish his clothing that is equally as impressive, though perhaps embellish isn't the best word to use. The embroidery that appears on Rucci's clothing, for example, is done in such a way that it becomes part of the soul of the design rather than a mere decorative embellishment.

I first got a glimpse of the recently published book Autobiography of a Fashion Designer: Ralph Rucci on New York Social Diary. The idea of a book that explored both Rucci's home as well as his design atelier intrigued me. After all, having almost every facet of one's home photographed is really rather personal. Needless to say, when I was offered a review copy, I said yes. I'm so glad that I did, too, as the book is one of the more unique and captivating books that I've seen.

The first half of the book explores Rucci's home, what he calls his "sanctuary." The photos of his bookshelves, kitchen shelves, and artwork goes a long way in capturing both Rucci's sense of aesthetics as well as his intellectual side. Rucci seems to take a very artistic and philosophical approach to both collecting and decorating, something that can also be seen in his fashion collection as well.

But what the book's photos also do is to give the reader a sense of who Rucci is as a person. After reading the book, I know that he is devoted to his bulldog, Twombly, and that he is an ardent fan of Elsa Peretti's work. He has a passion not just for fashion, but for interior design as well, something that is evidenced by his impressive (and I really mean impressive) collection of design books. And I have to admit that I even got a little excited to see a shot inside one of his kitchen drawers where a set of Ricci Bamboo stainless flatware was stored, the same flatware that I use on a daily basis. What can I say? It's a bit of a thrill to know that someone like Ralph Rucci dines with the same flatware pattern that I do.

I've scanned a few photos of the book including some from the second half of the book that focuses on his design studio. As you can see, it's a unique book, one that is entirely fitting for a designer who has forged his own path in the fashion business. And if you have the opportunity to buy a copy for yourself, I highly recommend doing so. I have a feeling that I will be referring to this book time and time again.




Twombly bounding through the hall of Rucci's home.




A page of images from Rucci's kitchen, including the Ricci Bamboo flatware. (I've had it listed on my Amazon store for a while, so if you want to take another look at it, click here to visit my store.)




Books, books, books.




Detail shots of Rucci's designs show the incredible workmanship and artistry for which Rucci and his team are known.



An inspiration board in Rucci's office.



All photos from Autobiography of a Fashion Designer: Ralph Rucci, Bauer and Dean Publishers, 2011; Baldomero Fernandez photographer.

The Ravishing Rachel Roy

A few weeks ago, I had the pleasure of attending a luncheon at Neiman Marcus in honor of Rachel Roy. Lately, Rachel has been in Atlanta fairly often as she is both a SCAD Style Lab mentor, advising many of SCAD's talented fashion students, as well the Honorary Chairperson of the upcoming SCAD Seen Gala. I had the opportunity to speak with Rachel one-on-one before the event, and she is truly so kind, down to earth, and gracious. (Don't we all know that those qualities are refreshing and becoming increasingly rare!) It's impossible to be jealous of her success and her beauty because she is so nice.

One of the great mysteries to those of us not in the fashion business is how so many designers seem to present collections that all feature the same or similar trends, colors, lines, and lengths. It's as if designers are all magically on the same wave-length or something. Well, it's actually not magic. What Rachel told me was that most designers- including herself- attend the fabric shows in Paris, and it's there where designers see the latest fabrics, trends, and the colors of the moment. I suppose that they absorb what they see at the shows and then they interpret it in a way that is unique to their individual styles, aesthetics, and points of view. In Rachel's case, she created a Spring 2011 collection that embraced color blocking, but the way that she made the clothes wearable was by also mixing in neutrals. As you can see below, the clothes are very pretty, feminine, and absolutely wearable.

Rachel gave me a few sage words of advice that, although she used them in the context of fashion, I believe can be applied to interior design as well. First, she said that before you even open your mouth, you are telling a story- your story- with the way in which you dress. Do you dress colorfully? Or do you don neutrals? Do you prefer feminine frocks to streamlined suits? What is the story that you are trying to convey with your clothing? And you know, isn't this true of interior design as well?

And secondly, she said that one point she stresses with her SCAD students is that while you should pursue your passion, you need to be smart about it. As an up-and-coming designer, you may have honed your technical skills, but you need to engage the other side of your brain as well. It's a balancing act of art and commerce, and you have to be willing to do both. Again, I think the same applies to interior design. You're only going to get so far if you can't run the business side of things.

Finally, I asked Rachel what pieces should be in every woman's wardrobe. She believes that we should all have a nice trench coat (so classic), a men's style shirt that has been tailored at the waist, and pencil skirts for a touch of femininity. And in case you're wondering how to achieve Rachel's smokey eye, it involves shadow, liner, mascara, and a lot of blending and smoking it out. Actually, that was my very first question I asked her because I couldn't get over how dramatic her eyes looked.

Rachel will be back in Atlanta on May 24 for the SCAD Seen Gala. For more information on the event or to purchase tickets, visit SCAD's Gala website. And of course, to purchase Rachel's Spring collection, visit Neiman Marcus.com.











All photos by Philip Shone Photography.

Entertaining with Eleanor Lambert

Those 1970s House Beautifuls that my friend Barry gave me are the gifts that keep on giving. While flipping through the October 1977 issue, I found this charming article on Eleanor Lambert's style of entertaining. The late, great fashion publicist (she died in 2003 at the ripe old age of 100) not only had style in spades; she must have had boundless energy as well. She was responsible for creating the International Best-Dressed List in the early 1940s, started the Coty Awards in 1943, founded the Council of Fashion Designers of America in 1962, and organized the still talked about fashion show at the Palace of Versailles in 1973. It was at this show that the American designers- Halston, Bill Blass, Oscar de la Renta, Stephen Burrows, and Anne Klein- stole the spotlight from France's cream of the crop couturiers including Givenchy, YSL, Ungaro, Cardin, and Bohan. Now that was a triumph!

When it came to entertaining, it sounds as though Lambert was no less energetic. In the article, she said that she hosted seated dinners for 8 to 20 guests as often as eight to ten times a year. In addition, she also gave numerous buffets throughout the year. But it was the sit-down dinners that Lambert liked best because she loved "antique silver and china and a sit-down dinner lets me show off my treasures." Those treasures included Imari plates, Ming lacquer trays used in place of place mats, silver flatware and candlesticks, and fresh flowers. The dining room itself was equally as elegant with its salmon colored walls, Turkish rug, antique porcelain displayed in the niche, and a stunning Chien L'Ung porcelain screen hung on the wall.

In terms of food, Lambert mentioned billibi being a favorite dish of hers. In case you're wondering (and I was), it's a French soup made from mussels and cream, although Lambert used clam broth in place of the mussels. She also liked to cook with liquor, although she didn't drink. One salad that she served was composed of mixed fruit, each type marinated in a liqueur of the same flavor. She also like to put gin in her stews and bourbon in her chili. I've never tried flavoring my chili with bourbon, but I must say that I'm intrigued.









All images from House Beautiful, October 1977.

Roberto Capucci: Art into Fashion

I've always been enchanted by the story of John Fowler spending hours holed up in the Victoria & Albert museum studying its collection of women's costume and dress. Certainly not a bad way to spend an afternoon, and an endeavor that proved fruitful during his career. After all, he was and still is the undisputed master of curtain making and design. So many of his curtains resemble elaborate ballgowns, don't they?

If I lived in Philadelphia, you can bet your bottom dollar that I'd too hole myself up and seek design inspiration at the Roberto Capucci: Art into Fashion exhibit at the Philadelphia Museum of Art. The exhibit celebrates the forward-thinking Italian fashion designer and artist noted for his inventive construction and use of fabric. Worn by the likes of Marilyn Monroe and Gloria Swanson, Capucci's creations have also influenced younger designers including Ralph Rucci, one who is also noted for his architectural approach to fashion. Speaking of architecture, one of Capucci's most famous designs is his Colonna dorica dress, a silk satin creation based upon, yes, a Doric column.

So what's to glean from this exhibit? Well, an obvious answer would be the construction of the clothing. Look at the pleating of one dress or the voluminous skirt of another. Could that be translated into curtains? A lamp shade? Even an elaborate table skirt? Think about the weird but wonderful details he used like plastic cubes and pebbles. And of course, there are those riotous color combinations.

Unfortunately, I don't think my travels will be taking me to Philadelphia this spring, but if you happen to be in the city from March 16 through June 5, I urge you to visit the museum. That way, you can tell me all about it. In the meantime, I plan to purchase the exhibit's corresponding book pronto, as Roberto Capucci might say.




Bocciolo (Bud) Dress, a 2009 reproduction of a 1956 original, made of silk taffeta.




Colonna dorica (Doric Column) Sculpture Dress, 1978, silk satin.




A dress made of cotton lame and plastic with plastic cubes, 1967




Silk shantung taffeta and silk georgette dress with pebbles, 1972.




Sculpture Dress, silk taffeta and silk georgette, 1980.




Sculpture Dress, silk crepe and silk gazar, 1984.




Sculpture Dress, silk velvet and pleated silk taffeta, 1987.




Sculpture Dress, silk taffeta, 1987.




Sculpture Dress, pleated silk taffeta, 1992.




Sculpture Dress, silk satin, 1992.




Sculpture Dress, silk taffeta, 1992.


All images courtesy of the Philadelphia Museum of Art