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| A 1930s Vionnet worn by Lucia Chase, Founder of the American Ballet |
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| Attributed to Vionnet, 1937 and worn to the corronation of King George Vl |
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| A stunning dress from the 30s worn by Ruth Meyer Epstein for her debut in Washington, DC |
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| Close-up of the stunning bead work by Lesage |
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| Spidery and delicate - a handstiched hem |
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Look what arrived by email this morning! It made my day and only, if only, I could go to the presentation of the House of Vionnet's Spring - Summer Collection. I could even wear one of my Vionnet's from the collection (except for the glorious chiffon and beaded debutante gown that is now in the hands of a Vionnet collector in the US). I am thrilled to be in touch with this illustrious house and after flying to Paris several years ago just to see the Vionnet exhibition at the Musee des Arts Decoratifs. I am hooked on Vionnet. It is exciting to think this couture house is back continuing Vionnet's principles of elegance, fluidity, architectural form with timeless style. I bought the imposing book produced in conjunction with the exhibition and was delighted to see a dress with the same silk fringing on silk crepe (on page 94) similar to mine. Vionnet believed a dress should sit on the wearer 'like a second skin' and she also introduced the cowl neck, halter top and handkerchief dress - all styles we take for granted today. I am giving a talk today at the Observatory Hotel in Sydney about 'Empowering Women Designers". Madeleine Vionnet (and Helen Rose) are my designers of choice - with a dress designed by each of them, worn by 2 models, to punctuate their importance on fashion history!
