Couture Confessions ebook

February 15, 2016
Golbin, chief curator of Fashion and Textiles at Musée des Arts Décoratifs in Paris, “interviews” dead fashion design luminaries in this slightly peculiar but successfully inventive book. The term interview is used loosely here, with each designer’s own words, spoken or written long ago, positioned as responses to questions from Golbin. The gimmick works, though the interviews tend to fawn over their subjects. How does Paul Poiret (1879–1944) feel about being the “king of fashion”? The designer answers, “Among the many things I’ve been called over the years, none has given me greater pleasure.” The designers’ personalities buoyantly emerge in this playful format, as do insights into their trade. Elsa Schiaparelli (1890–1973) admits that “cutting bored me. I never did a drawing in my life.” Madame Grès (1903–93) thought that “ignorance is a very important thing... It leads you to try things others wouldn’t dare attempt.” Coco Chanel (1883–1971) and Schiaparelli refuse to call themselves artists, as do Grès, who claims “I am just a good seamstress,” and Alexander McQueen, who squarely states, “I am a craftsman. I am not an artist. I am selling a service.” Others, such as Jeanne Lanvin (1867–1946), view fashion as “one of the greatest of the arts.” Dashing portraits of each designer by illustrator Legendre add to the book’s strong appeal. B&w illus.

April 15, 2016

Golbin (chief curator, fashions & textiles, Musee des Arts Decoratifs; Balenciaga Paris) summons the spirits of fashion's leading stars in this experimental title. The approach works, up to a point: Golbin "interviews" 11 designers including Coco Chanel, Alexander McQueen, Madeleine Vionnet, and Christian Dior, using primary source materials. In the case of superreclusive Christobal Balenciaga, who only granted one interview during his lifetime, the author draws in other 20th-century icons, including Cecil Beaton and Diana Vreeland, to discuss him. Perhaps owing to the abundance of documentation, some come off better than others (Chanel, Dior, Paul Poiret), but Golbin skillfully tailors her questions to their long-ago answers. The author's inability to follow up her questions creates some stiffness, and this is most apparent in the final chapter, which purports to be a roundtable discussion of "What is fashion?" Despite this, the book is informative and personable. The copious footnotes are helpful, but more editorializing on the author's part would have been welcome. VERDICT The fantastic illustrations by Legendre and the designers' signatures at the end of their chapters enhance the immersive experience of this work, which will both delight and confound scholars and followers of 20th-century designers.--LF

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