I started the week with a profile on the amazing Gloria Groom and followed that with a review on the catalog that accompanied one of her incredible exhibitions Impressionism, Fashion & Modernity. I wanted to highlight some of the art in the exhibition and book in today’s Fashion Flashback. I know I have been featuring experiences with the designers I have worked with over the years but wanted to take this opportunity to talk about fashion in art.

I often wonder when we look at art what we are looking at…is it a period in time, is it the artist’s vision of that place in time, is it what we are actually seeing ourselves…in my opinion, it is all of these things and much more.  I find this especially true with the Impressionists. They were not only radically changing the way we look at art but incorporating the way people lived and, our subject, the way they dressed in the fashions of the day.

The women of high society could dress in THE couturier of the time, Charles Frederick Worth, wonderous creations.  If they couldn’t afford his pieces, those in society being captured by these new exciting artists could most certainly afford the garments, they would either follow the fashions and make their gowns themselves or have their dressmakers copy them. Then as now, we are captivated by Haute Couture (do follow all the incredibly beautiful garments in the current Spring Couture Collections. I think it is one of the best in recent years!  All very exciting!).

There were so many paintings in the exhibition and more in the catalog that I really didn’t know where to start so I will do so with my favorite artist, James Tissot.  I am horrified that I wasn’t familiar with him prior to the exhibition and that we don’t have a Tissot in our Art Institute’s extensive Impressionist collection is a major void.  While I can’t document that any of the garments are from the House of Worth, they most certainly could be. Here are a couple of my favorites.

I can relate to this painting of the shopgirl, naturally dressed in black and, of course, not Worth, selling her wares of fabrics and trims, it could be me in another time and location, Paris, where else! Tissot’s The Shop Girl, Art Gallery of Ontario, Canada.

This is my most favorite of all, look at the detail in the ruffles, the lace, the fan…amazing to say the least! Evening by James Tissot, Musée d’Orsay.

Another Tissot rich in detail, he used this gown in several of his paintings, I can see why it is extraordinary, love the silk ribbons and the sofa covering and pillows, all very much of the Victorian period. July: Specimen of a Portrait, The Cleveland Museum of Art.

In the Conservatory, by Albert Bartholomé, 1881, Musée d’Orsay. The actual dress Madame Bartholomé wore in the painting, 1880. These items were featured side-by-side in the exhibition. This is the only actual garment featured all others were the “look” or “feeling” of the composition.

Auguste Renoir, Madame Georges Charpentier and Her Children, 1878, The Metropolitan Museum of Art. A typical painting of the time, Madame with her children in their sitting room complete with family dog.  Madame Charpentier is reputed to be wearing a Worth gown.

Claude Monet’s Madame Louis Joachim Gaudibert, Musée d’Orsay. The garment shown with is was breathtaking and showed the paisley cashmere shawl from India and Persia which was a major accessory of the time. I collect paisley shawls and will, of course, do a feature on them in a future post. Again note the staging of the room, floral carpet, roses in a vase on the table all to create an atmosphere.

Of course, I could not leave out two of the most famous paintings of all and both are in our own Art Insitute of Chicago collection and both are depicting everyday people.  The Seurat depicts a variety of people strolling and enjoying a Sunday in the park.  One could stare at this incredible work forever and still see something new.  The other is the massive masterpiece by Caillebotte, again showing us everyday people strolling down a Paris boulevard in a typical modern day (of the time) scene.  At the time it was painted it was considered quite controversial, we think of it today as a glimpse of the distant past.

Georges Seurat, A Sunday on La Grande Jatte, The Art Institute of Chicago.

Gustave Caillebotte, Paris Street, Rainy Day, the Art Institute of Chicago.

Gloria Groom in a “modern” hoopskirt cage in the Costume Collection at the Chicago History Museum.

I did a post at the New Year with chandeliers in public places…now I wanted to share some in homes and clubs.  Not a lot of copy, aren’t you happy about that!!!mostly photos, all mine.

Opaque glass beaded French “waterfall” fixture in a private club.  Stunning!!

A formal crystal piece in an entrance hall.

A French “beaded” glass and crystal drop shaded piece in a dining room.

Another piece with silk shades in a friends dining room.

A truly grand piece in the solarium of the same home.

A French crystal fixture in Margaret Buckman’s dining room, a stunner!

A totally different direction with an original contemporary piece in my friends Mid-Century Modern Goldberg home.

Why not hang your elaborate chandelier in the barn…how perfect!!! Love it against the peeling paint the contrast is super!

A glorious vintage French crystal beaded piece almost looks like draped fabric.

Truly a showstopper in the dining room of the same apartment as the piece above.

A peek into my all white bathroom complete with mirrors on top on mirrors on top of mirrors…and, of course, a vintage French gilt and crystal small chandelier!

Which one is your favorite?

I was asked to write a piece for the fabulous weekly on line magazine, Classic Chicago, http://www.classicchicagomagazine.com regarding what piece of clothing defines me…I didn’t hesitate to say a black turtleneck sweater.  I have no idea when it started but it has become my signature piece.  Below is the full article, in quotes, that I presented to them, they used a condensed version…this is just a random Wednesday post. I don’t do selfies but am doing two photos of me today to illustrate how I wear my “identity”!

The jacket in this photo is from Oscar de la Renta and is a bright royal purple, one of my favorites.  The jewelry is from my Victorian collection.

“I definitely identify with and am identified by a black turtleneck sweater!! 

How did this begin, I would say when I first began in retail. I was still in high school (working Saturdays at Saks Fifth Avenue, Chicago in Debutante Sportswear, it would now be called Contemporary Sportswear, until graduation) and there was a dress code, black, brown, navy, and gray. You could wear a white blouse. I choose black, a color (or noncolor) and have worn it ever since. It made me feel sophisticated and “grown up”, I was the youngest employee in the company at the time. To me, nothing looks more retail savvy that black and pearls. It forms the background to the merchandise you present to your clients. Eventually, my choice evolved into the black turtleneck sweater. Nothing wrong with my neck, it just works for me. I can add colorful jackets, all manner of jewelry to change it up. Having a season less wardrobe, it might be cashmere, usually is, silk, cotton (I’m partial to the Gap for this choice) basically any fabrication, I find works for me. I have so many that the staff at the store wouldn’t sell me any more basics, I was allowed novelty ones! I often wear my turtleneck to black tie events and glam it up with some sort of glitzy jewelry, bag and/or shoe.
 
 Without question, the black turtleneck sweater is the Ivon signature!”

At the opening night party of the Mainbocher exhibit at the Chicago History Museum. I’m wearing one of my necklace treasures done especially for me by my friend the talented June Blaker.  The easy black silk vintage jacket by Mark Heister.

I find it very easy to reach into my closet and pull my outfit together for the day with my basic underpinnings, a black turtleneck, black pant, or black skirt with a black Chanel flat, black Puma sneaker or black boot.  Sometimes I do an animal print Oxford or a colored shoe if I’m not doing a bright jacket.  For evening it can become a long black skirt, black full silk pant by Mark Heister or short skirt, glamour jewelry and probably a rhinestone trimmed Blahnik black silk pump and black silk quilted Chanel bag. For New Year’s Eve this year I did a vintage Adolfo black jacket, with pearl and rhinestone Lasage beading, one of my treasured evening pieces, with black jeans, the Blahnik silk shoes and of course, as always, that black cashmere turtleneck sweater.

I would suggest everyone find their own style and become one with it.  The most important part of dressing is to be comfortable in your clothes and wear them not have them wear you!!

This week’s recipe is a coffee cake that I have made since I was a little girl, it is my Mother’s recipe…it is really yummy and I think I will make it for myself this week…hope you will try it as well, enjoy!

Ruth’s Rub Cake

2 cups flour

2 teaspoons baking powder

1 1/2 cups sugar

3/4 cup butter, room temperature

2 eggs, room temperature

1 teaspoon vanilla

3/4 cup milk

Rub together, as for pie crust, flour, baking powder, sugar, and butter (use a pastry cutter, two knives or your clean hands).  Measure one cup and set aside for topping of the cake. Beat eggs well, and combine with milk and mix well, add the dry ingredients mix until combined don’t over mix (I use a hand mixer for this part).  Pour into a shallow, greased pan and spread the top with the crumb mixture.  Bake in a moderate oven 350º for about 35 minutes.  Done when toothpick comes out clean.  Can be served for breakfast, tea, dessert or just out of the pan when you need a snack. Do let it cool a bit…it is best when it sets awhile and keeps very well.

Exhibition catalog, 2013

I wanted to discuss the catalog (more a fantastic art book that everyone MUST have in their art library whether they are interested in “fashion” or not!) that accompanied the spectacular exhibition that Gloria Groom, yesterday’s profile subject, (as you may recall “fashion” was a first love for her and she had worked on this exhibition for many years before it came to fruition), brought to the Art Insitute of Chicago in 2013 after it’s run at the Musee D’Orsey in Paris and the Metropolitan Museum of Art in New York. Gloria edited the book and coordinated all three exhibitions, working with each Museum’s teams, each had it’s own setup and flavor but none losing their commonality of the subject. But, of course, the Chicago version was, in my opinion, the best of all!!  The exhibition and the book are breathtaking.  Thank heaven we still have something to recall this exceptional moment in art and fashion history.

Gloria Groom with Mary Green (Gloria’s position bears her title, David and Mary Winton Green Chair at the Art Insitute of Chicago) at the opening of Impressionism, Fashion & Modernity. Photo courtesy of  Gloria Groom.

I saw the exhibition at least 10 times, probably more, and each time I saw something different. It was an exquisite exhibition in all ways.  The way it was mounted, the color of paint on the walls, the collection of paintings, many of which were being seen for the first time in Chicago, along with our own amazing collection, the fashions (both garments and accessories such as shoes, hats, gloves and fans), displayed along side the paintings. I have mentioned that I am obsessed with exhibitions just about as much as I am obsessed with books so this book ties both together so you can enjoy the exhibition, and the reasons behind it, whenever you like. Gloria’s contacts, her innate eye for detail and scholarly information, done in such an informative, not preachy manner, make this an encyclopedia for the subject matter it contains. A reference work that I have referred to on many occasions as well as just enjoying the wonderful reproductions of the paintings. I will do another post on the exhibition itself later in the week and highlight the influential couture designers the Impressionists used on their subjects as well.

Camille by Claude Monet.

A close-up of the green and black stripe fabric forms the end papers of the book.  Many close-up details of fabric, trim, etc. can be explored in the book’s pages.

Be sure, if you don’t already have this catalog in your collection, that you add it as quickly as possible, you will be all the richer for it!

PS Gloria has added http://www.nenasnotes.com to her favorite blog list!!!!  I am extremely pleased with the honor!

Hats have been a part of fashion history forever….I have personally worked with several of the icons in this field.  But first a brief history lesson…

Rose Bertin, Marie Antoinette’s milliner, and dressmaker, was a true fashion diva, since that time milliners have tended to be arrogant and egocentric.  I did not find this so with the designers I worked with, talented…absolutely, major egos…perhaps. but not at all arrogant. Many milliners became dress designers.  They include Lucile, Jeanne Lanvin, Chanel,  Schiaparelli, Jacques Fath, Halston, Adolfo and Mr. John to name a few.

Rose Bertin opened a dressmaking and millinery establishment on Rue du Faubourg Saint-Honore in Paris in 1772.  In 1774 she was introduced to her best-known client, Marie Antoinette.  All of France came to her for their elaborate caps and headdresses.  she survived the French Revolution, her business, however never recovered.

Charles Worth considered the father of Haute Couture, he was responsible for creating the first hat worn instead of bonnet.  Charles Dickens was quoted saying a male milliner (there wasn’t a name for couturier) with thick fingers dressed and undressed the women of France (including the Empress Eugenie)

Gabrielle Chanel opened her millinery business in 1908 from the Paris apartment of her lover Etienne Balsan.  With the backing, of the love of her life, Boy Chapel, she moved to 21 Rue Cambon.  She designed millinery exclusively until 1913 when she designed her first garments.

Elsa Schiaparelli opened her fashion house in 1928 and her outrageous garments, equally important were her ingenious hats including the surrealist shoe hat in 1937.

Obviously, I didn’t work with any of the aforementioned creators.  But did work with several who were considered creative icons.

Bes-Ben in 1920 Benjamin Green-Field opened his first Bes-Ben hat shop in Chicago.  In 1941 he created his first silly hat and earned the name of Chicago’s mad hatter.  Ben Green-Field was a Chicago institution.  His Salon, filled with treasurers from his world travels, was located on Michigan Avenue.  All of Chicago society women wore Bes-Ben creations, many of which are housed in the Costume Collection of the Chicago History Museum and some are on permanent display at the Museum, http://www.chicagohistory.org.  Each year he famously had a “sale” of hats priced at $5.00 this began at midnight at 2:00 AM he would “throw” out hats to the assembled crowd…it was complete madness and great publicity before we knew what the word marketing was all about!

A Bes-Ben creation.

Mme. Paulette, Paulette Modes opened in 1939 on Avenue Franklin D. Rooseveltt in Paris.  She became known for her draped turbans and made hats for Robert Piguet, the couturier, up until her death she designed hats for many fashion houses including Chanel, Cardin and Mugler.  Paulette was the Philip Tracey of her time.  Creating timeless, beautiful millinery at a time when everyone wore hats…even in the evening.  She was very French, very charming and, of course, very talented.  She loved to share her expertise with the staff as well as work one on one with the clients at Saks Fifth Avenue, Chicago.

Mme. Paulette in her Paris Atelier.

One of the iconic hats by Mme. Paulette

A superb monograph on Mme. Paulette.

Tatiana was born in St. Petersburg, Russia she went to Paris after the Revolution  She studied painting and sculpture but also learned millinery to make a living.  She fled to New York with her daughter in 1941 and began designing hats for Henri Bendel within a year she joined Saks Fifth Avenue and became head of it’s custom millinery salon, working along side Sophie Gimbel, until the Salon Moderne closed in 1963.  She was considered a perfectionist in choosing both materials and colors.  She married Alexander Liberman, an artist and editorial director of Conde Nast Publications.  She came to the Chicago Saks Fifth Avenue store on several occasions to work with the clientele.  Everyone at the time, late ’50’s early ’60’s wore hats, you just weren’t complete without one….in came the bouffant hairdo, out went hats!  I found her very austere, extremely talented and an authority everyone admired, especially the ladies lucky enough to have her personalized attention and specially created chapeaux.

Tatiana in her workrooms.

I love this photo…long before I met her.

A memoir written by Tatiana’s daughter, Francine du Plessix Gray, a very good read.

Adolfo having served an apprenticeship in Balenciaga’s workshop in Paris he emigrated to New York in 1948.  In 1953 he became chief designer for Emmé in the same year he won the Coty Fashion Award.  In 1962, with a loan from Bill Blass (which he quickly repaid) he opened his own custom millinery salon and later began making clothes to compliment his hats and then as his primary business.  He was a star with Saks Fifth Avenue for many years and a dear friend.  I will do a separate post on Adolfo in the future.  I wanted to tell you the story of our first encounter, rather amusing now, then not so much!!!!

Adolfo in his millinery salon.

Each time we had a guest designer at the Store we did a press reception, could be a breakfast, luncheon, tea, cocktail reception and always with an accompanying fashion presentation.  Adolfo’s first visit with us was no exception.  We planned a formal sit-down luncheon in the Bagatelle Room at Maxim’s restaurant in the Astor Towers (more on that restaurant in a future post).  At the time we had 4 daily newspapers, each with a fashion editor and an assistant fashion editor, several local weekly and monthly publications and lots of daily TV shows.  All were invited to this special event. I always liked to “personalize” the events in some way, and thought it would be amusing to do individual place cards in the form of hats.  Going a bit further, I went to our local “party store” Dennison’s (think Michaels or Hobby Lobby), they had all materials to use for showers, parties of all kind…just lots of good stuff…at least I thought so!  I found charming miniatures floral hat boxes, probably 3″to 4″ in size, matching tissue paper and materials to form miniature hats (look at the Bes Ben hat above for the look I was going for) for each guest.  I thought of each guest’s personality and created a one of a kind hat for each, placed them in their hatboxes tied them with a silk ribbon and attached their name card.  Having Adolfo with us was HUGE and everyone was extremely excited to meet him for the first time and hear his story and enjoy his creations.  As I was placing my miniature hatboxes at each place I had a major wave of horror….what was I thinking, I a non-creator making hats for a major designer….I was, of course, doing it to honor him but what would he think.  Well as I was just finishing the placement, in came my store manager with Adolfo, much too late for me to retreat!!!  I don’t get upset nor nervous very often but in this case I was terrified.  He looked at the table (oh, by the way, I had done one for him as well!!!) opened his hat box and said it was one of the most charming things he had seen and he found them delightful!  Everyone shared their own miniature millinery and placed them on top of their boxes to be admired. We were friends from that time onward!

The Ivon footstool collection.

I do love my collections…some are very large, think my books…some are very small such as my footstools.  I have no idea why I have 6 footstools in my minuscule apartment but I do!  Three are needlepointed with beads, one is all over beadwork, probably my favorite.  One is a leopard print and two are wool needlepoint, one of which I did and one was given to me.

My favorite all over beaded in mint condition purchased years ago at the Randolph Street Market. The next market is Saturday and Sunday, January 28 and 29 from 10 to 5.  See what you can find to add to your collections or start a new one. http://www.randolphstreetmarket.com

A close up of the beadwork…I am obsessed with it!

While doing research for nenasnotes I found an interesting piece on the history of footstools, is there anything you can’t GOOGLE???!!!  I think not, at least I have found that to be so!  They actually began in Egyptian times (what didn’t!) and were some of the first pieces of furniture manufactured by the Egyptians. While I found that interesting I collect vintage Victorian objects, not Egyptian.

A quote from the piece from http://www.ehow.co.uk

“Regency and Victorian:  Antique footstools from the early 1800s Regency period consist of feet and frames with brass inlays.  Later, in the Victorian era, drawing rooms, where guests gathered after dinner, boasted fancy braided and tasseled-styled footstools. Footstool covers adorned with embroidery were introduced at this time and are valued today by collectors.”

The top of one of the footstools which is mounted on a raised brass base and it is the one my feet rest upon while I’m sitting in my cozy chair reading, listening to music or watching television.  A gift from friends, not my work.

A close up of one of the bead and wool needlepoint tops, what I love about this piece is the areas of uncovered mesh.  the base is trimmed in a tapestry tape.

Another beaded, a bit more heavily than the one above, and wool piece…do you think I favor roses on my footstools…yes, yes, I do!

My newest acquisition is an oval leopard fabric stool on wooden pillow feet also purchased at the Randolph Street Market a major find at $25.00!  Needless to say, I immediately grabbed it!  It resides by the legs of my dining table.

I collect, as you now know from previous posts, lily of the valley.  Mom collected violet memorabilia.  I did this piece for her many years ago as a pillow and it now tops a footstool next to my bed.  I designed the piece and did it from a chart my preferred way to needlepoint (rather than painted or tramé).  I also have a needlepoint violet bellpull, one never knows when one might require “staff” to bring the tea into the drawing room! Much more on my needlework in future posts.

I grew up with Mid-Century Modern furniture, my parents wanted a change from their traditional homes, they grew up surrounded by antiques, and my Father, being an artist, wanted something new, something “sexy” something cutting edge!  Their choice of a furniture creator was Paul McCobb, the wood, maple, most of which Daddy painted with flat black paint and the upholstery, which was often changed, (Mom was a superb seamstress as well as an interior decorator) was Ben Rose fabric.  Daddy’s studio, with his drawing board and tabaret, which held his paints, brushes, pastels and all the various mediums he liked to use,  (which is the only piece of furniture I still have…I have decoupaged it with vintage lily of the valley postcards), was always dark walls, either charcoal gray or chocolate brown again using Ben Rose fabrics for the drapery and day bed upholstery, the room was also our guest room. Mom loved to change all the furniture and objects on an almost weekly basis.  She was tiny, but mighty, a truly wonderful, and talented in her own way, woman with an incredible personality….I was truly blessed with amazing parents!  I can’t even imagine the strength she had to move all the furniture by herself but move it she did.

Similar to our chairs but the arms were rounded.

An example of a Ben Rose fabric.

Why am I telling you this…actually for two reasons, first, I didn’t relate to Mid-Century  Modern at all, probably from birth!  I was raised to be my own person and was always allowed to do my room in my own style…that style was and is, eclectic!  I chose all my furniture for my room, I remember the first bed I chose was a “hide-a-bed” covered in dove grey.  I set up my room like a sitting room where I could play, create and “entertain” my friends. We always went antiquing and I collected what I was drawn to. My parents were always supportive of whatever I wanted to do so they were completely on board with my rather unique choices. Long after that decorating choice, actually in high school, I decided to start with antique and vintage items.  My first choices were a hand-painted French daybed, an antiqued green secretary and chair and a rococo set of drawers.  All these items are still in my apartment.

The second reason is that I wanted to mention my dear friends (family!), Tom Mantel and Tom Hawley, you have seen some of their pieces in my post on Erté in Fashion Flashback a couple of weeks ago.  They live in a totally restored (which they undertook themselves!) Mid-Century Modern home by the renowned architect, Bertrand Goldberg (think Marina City).  I will be doing a profile (probably a couple of weeks of photos) on this incredible home in upcoming posts  It is like reliving my childhood when I visit them taking me back to an era that was so important to my parents.

The staircase at the Tom’s Mid-Century Modern Bertrand Goldberg home circa 1939-1940.

Our breakfast dishes were Fiesta Ware in all the colors of the day, we had it all, it was purchased at the local hardware store….seriously.  Our dinner dishes were Russel Wright’s American Modern dinnerware in granite grey (introduced in 1939), again we owned every piece in the “set”.  We entertained regularly so we had lots of it.

Fiesta Ware bowls.

Russel Wright’s American Modern dinnerware in granite grey.

Both my parents were excellent cooks.  Mom was a super baker and an superb cook but her baking skills are what set her apart. I can still taste her perfect pies (which I can’t duplicate!!!) and coming home from school to the smell of loaves of freshly baked bread. We won’t even touch upon all the cookies and cakes…amazing! From a very young age I stood on a chair by Daddy’s side at the stove to assist with his cooking…while extraordinary memories, not many recipes were written down and unfortunately, he passed away at a young age, so I don’t have very many of them.  I do have a couple that he gave me when he might be late so I could get started with the prep.  One I do have, from memory, is his Borscht recipe which I am sharing with you today.  He cooked, like most chefs, with a bit of this and a drop of that.  I have tweaked the recipe as I think he would have done in 2017.

Daddy’s Borscht Recipe

2 Dinner servings or 4 first course servings

12 meatballs (I use Rosina Angus Beef Frozen meatballs they are superb, the only change from using homemade meatballs, why make them when you can get excellent ones frozen!)

4 11.5 oz. cans Original V8 (do not use spicy!!!)

2 15 oz. cans julianne beets including all the juice (not easy to find, this time I combined one can of julianne beets and one can of sliced beets, it worked well.  I went on line and found julianne beets available at Target, just saying!)

1/4 cup red wine (whatever you will be serving with your borscht)

5 dashes Angostura bitters

1 small bay leaf (be sure to remove before serving)

Place the frozen meatballs on a foil lined sheet pan in a 350º oven for 30-35 minutes until brown.

While the meatballs are baking combine other ingredients in a sauce pan bring to a boil, immediately reduce and simmer until you add the meatballs.  I cook them together to meld the favors for another 5-10 minutes at a simmer.  Serve piping hot.  Laddle into bowls and top with a generous dollop of sour cream (the fully loaded kind, please!) Serve with crusty artisan bread and, of course, loads of red wine.  A nice poached pear would be a perfect dessert, nothing heavy.  The soup is very rich. ENJOY!!!

Author Charles Finch photograph by Timothy Greenfield-Sanders.

We all know the saying don’t judge a book by its cover…all I can say is I am so glad I did exactly that with the first Charles Finch book, A Beautiful Blue Death.  The cover drew me to the book, the author drew me to the story, and the story drew me to the series. The protagonist, Charles Lenox, begins the series (I always recommend reading the first in a series just to set the stage…each of these books can be read alone but in this case best to start at the beginning and then read them in order or as you like!) as a detective and just as his career takes many paths so do the cases he solves.  While I do love a good historical mystery, especially an English one set in the 19th century, I also like character development and side plots…Finch excels in giving us these in great depth.  In addition, each book is a history lesson and gives us insight into England at this period of time, its morals, manners, and murders!!!

I have just finished reading The Inheritance, the tenth book and newest in the series, and one I have mentioned in other Books Books Books posts.  I must say it didn’t disappoint!  Charles, his partners, and Scotland Yard are investigating several cases, the one indicated in the title is the primary story and takes us back to Lenox’s youth and a friendship made there. Looking into a mysterious inheritance and helping his friend takes Lenox into very interesting territory.  Finch has given Lenox a wonderfully interesting cast of characters including his partners and his family, Lady Jane, his wife and his daughter, Sophia.  What I like about including a family life is that it makes Lenox more believable and human (and he is very much both), which is a major part of each book. The plot, as is usual in the Lenox series, takes many twists and turns.  It takes you into the lives of high society of the era as well as the gangs in the back streets of London’s East End.  Lenox is a very modern man living at a time when major inventions and scientific discoveries were being made, all of which he accepts and finds fascinating, and all happening in Victorian England. (I hope you all are watching Victoria on PBS, I was totally entranced with the first episode.)  It looks at the traditional politics of the time (not much different than today, all about power and money!!!) without being political. Once again a book I didn’t want to end…I become a part of the time (I am, after all, a major Anglophile!!) and the stories that Finch enticingly weaves. As you can tell, I am a huge fan of Finch’s writing and of his wonderfully developed and continuing to grow “hero” Charles Lenox.  More please and soon…..

http://www.facebook.com/charlesfinchauthor

http://www.bookcellarinc.com  My independent bookseller of choice

I am loving profiling my models and from my readers responses you are enjoying their stories as well.  Lou May was with me for longer than most of my models (and quite frankly looks the same today, what is her secret???), I have told many of them they hung up their “dancing” shoes much too early!  I have found when I do reunion shows (yes, a posting on that down the line!!) they come show ready and it is as if they have never been off the runway!  It is a joy to see.  Lou was a chameleon to the nth degree.  She could be sporty in one run, sultry in the next and pure glamour in the next.  Quite frankly that is what a model should be but not all are.  When you book a show you consider the look of the model…sure you can make them all look the same, and I have done that on many, many occasions, but you also need to take into account how they will present the garments they are wearing.  They most certainly don’t have to like what they have on but they need the audience to think it is the most fantastic outfit ever!  Lou always did that.

WHEN DID YOU START YOUR MODELING CAREER, WAS THIS SOMETHING YOU ALWAYS WANTED TO DO?

In 1963 I was working as a stylist for a photographer who did all kinds of photography, including fashion ads.  One of the photo models was going to the Marshall Field’s audition for runway models.  She asked if I would go with her.   I had no plans to actually audition, but when the director of the audition pointed to me and said “You’re next”, I thought “Why not”.  I was hired.  The first show that they booked me for was the Designer Show.  They gave me one outfit.  It grew from there to include Saks Fifth Avenue, Carson Pirie Scott, I. Magnin, Lord and Taylor, Wieboldt’s, Montgomery Ward, The Art Institute and many small specialty stores, as well.     I feel that I have been most fortunate to have had the opportunity to work with so many intelligent, professional, fun and lovely women, both models and fashion directors.  It was a great experience that I treasure.

On the catwalk at an Apparel Center Fashion Show.

WHAT WAS YOUR FAVORITE SAKS FIFTH AVENUE SHOW (S)?

My favorite Saks Fifth Avenue shows were the in-store seminar shows with Nena.  What could be better than a lovely setting, beautiful clothes, a small group of friendly models, an informative presentation and a smiling, attentive audience.  Modeling was a part of my life for more than 30 years.  I enjoyed the big, extravagant shows and tea room shows and all those in between.  The peaceful respite provided by the in-store shows certainly was a help and a joy in my life.  Nena has an extraordinary talent for orchestrating all kinds of events and I have been privileged to experience many of them.

In a trend show.

WHO WAS YOUR FAVORITE DESIGNER AND WHY?

I always looked forward to all of the new collections and never really thought about a favorite designer.  Each designer had a very distinct style and personality.  I enjoyed the challenge of adjusting to the mood of that individual style.  It was also fun to be in the Art Institute student shows produced by Dorothy Fuller. I got to listen to part of the lesson at the fittings.  Marcia Anderle was one of the special students who went on to work successfully in the Chicago fashion community.

WHAT WAS YOUR MOST FAVORITE “BEHIND THE SCENES” STORY?

A story from the olden days

In 1969, Prince Philip came to Chicago and Marshall Field’s was on his itinerary.  I was one of three models hired to wear Hardy Amies’ (atelier to the Queen) collection and pose as mannequins in the 28 Shop in case Prince Philip should ask for a fashion show.  There was a banquet table sumptuously displayed with an antique silver tea service, silver trays filled with tea cakes, cookies and mini sweet rolls, Wedgwood china and fresh flowers, just in case he requested tea.  A server dressed in black with a ruffled apron stood next to the table. We took our places on the appropriate platforms and the Field’s executives arrived to inspect.  An argument arose over whether the table cloth should be ironed to remove the creases formed by the folds.  It was decided it must be ironed.  Chaos followed as we all pitched in to remove everything from the table.  Housekeeping raced to iron the table cloth.  We were all in fear that the Prince might walk in at any minute.  We helped rearrange the display on the table and took our places again.  We stood for four hours, not being able to sit in fear of wrinkling our outfits.  Prince Philip never left the men’s store in the annex.  He never saw all the British displays carefully crafted throughout the main store and, of course, he never got to see those gorgeous live mannequins patiently standing and waiting for him.

WHAT ARE YOU UP TO NOW AND HOW DID YOU BEGIN YOUR NEW CAREER/PASSION?

The very nature of modeling and fashion is seasonal and thus part time.  This allowed me the flexibility to pursue real estate and rehabbing.  I definitely spent more time in lumber yards and plumbing shops than shopping anywhere else.  (Still do!)  Combining construction with make-up and high heels in the same day wasn’t always easy.  I still have the first building I bought.  Thankfully, I married a man who can fix anything and doesn’t care that I am a better plumber than a cook.

WHAT DID YOUR MODELING YEARS TEACH YOU THAT YOU ARE USING NOW?

Modeling has affected my life in many ways.  First, I have lots of wonderful memories.  Second, I am always on time! Being on time benefits both parties.  It shows respect for the other party and you are best served by being prepared in advance.  I still think twice when I put myself together for the day, although I am past trendy.  I have finally stopped dreaming that I arrive at a show without my bag of shoes.  I do confess that I need my slippers to match my bath robe, or co-ordinate at the very least.

Nena, I share your love of chandeliers and lighting in general.  It has a profound effect on mood and ambiance.  I have collected many fixtures throughout my life and incorporate them in my rehabs.  Recessed light adds a dimension, but a central chandelier can decorate a room regardless of the furnishings.

In Lou May’s foyer, stunning, I want it!!!!

At the opening of the Terra Museum of American Art in its first location in Evanston, Illinois.  I will do a separate post on this exceptional event.  As you can see Lou May is dressed in a modern interpretation of the painting behind her.

Photos courtesy of Lou May.  Terra Museum photo, photographer credit not available, is part of the Nena Ivon Collection in the Columbia College Chicago Archives.

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