As I said in Part 1 of this Style Maven series featuring Diana Vreeland, my quest on #IMFblog has been to examine where trends and social behavior originated as it pertains to fashion and style. I aim to find what fashion was, and what we are turning it into day by day going forward. Diana Vreeland having served as Vogue’s Editor-in-Chief at a time when fashion became a powerful tool of expression for women helped her to convey to America a concept of beauty that was aspirational and liberating for all women to follow. Diana Vreeland’s aura is still riddled in the excitement associated with the fashion industry, and the way that we think about fashion is a product of the mind of this visionary figure. That is why this month and next month I choose to delve into her work at the Costume Institute which is another arena of fashion where she brought her inimitable influence setting a standard that we still aim to achieve not just for fashion, but in the field of costume curating. I want to examine what we can learn from DV about style and fashion through her curatorial work. I figure, in light of this year’s exhibition opening, doing so will give us an eye into the difficulty of producing an exhibition, and Vreeland’s thoughts on how to create drama in presentation. In my fashion, one who has style has a recognizable character, and those who understand the character they play in life have the power to produce a life’s story that teaches others what it means to live a fulfilling life. (Photos and text come from the following books: ‘The Empress of Fashion’ by Amanda Mackenzie Stuart, ‘Diana Vreeland: The Eye has to Travel’ by Lisa Immordino Vreeland, and ‘Diana Vreeland’ by Eleanor Dwight)
|The Glory of |
|The red velvet sleigh with the |
green velvet gold-embroidered robe.