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I admit up front that I'm no fashionista. But I do love clothes. And, like all us gals, when I see someone in something I love (or hate) I gotta tell a friend. So this blog is dedicated to fashion "dos" and fashion "don'ts" seen around town. Tell me what you think!
She made it easy for them as they pioneered up corporate ladders in the 1970s and 1980s, offering coordinated outfits at once serious and stylish, but also affordable.
Claiborne died Tuesday at the New York Presbyterian Hospital after suffering from cancer for a number of years, said Gwen Satterfield, personal assistant to Claiborne. She was 78.
With husband Art Ortenberg and partners Leonard Boxer and Jerome Chazen, Claiborne launched her label in 1976 after working for years as a relatively unknown dress designer.
The brand emphasized ensemble sportswear, quality and keeping the price tag below that of other designers. Liz Claiborne and her husband retired from the day-to-day operations in 1989.
The new approach to dressing revolutionized the department store industry, which had focused on stocking pants in one department and skirts in another.
“It’s what the working woman needed,” said Joanne Arbuckle, chairwoman of the art and design department at the Fashion Institute of Technology. “Her coordinated pieces — you went from the turtleneck to sweater to pants to the socks. It’s like what Gap did for kids, and she did it beautifully.”
The clothes became an instant hit, and the company went public in 1981. By 1985, Liz Claiborne Inc. was the first company founded by a woman to be listed in the Fortune 500, according to the company’s Web site.
As the company grew, the designer expanded her offerings to include more casual clothes and also popular licensed accessories. Her handbags with the triangular Liz Claiborne logo and taupe trim were fixtures on the arms of both high school girls and their mothers in the 1980s.
“She was proof that licensing could be done well,” Arbuckle said.
She soon entered the bridge market with Dana Buchman, who had been a designer under Claiborne, just the beginning of her company’s vast diversification: Brands like Ellen Tracy, Kate Spade, and Juicy Couture, helped to generate sales of almost $5 billion last year.
In May, the company acquired the high-end design firm of Narcisco Rodriguez.
“The concept was to dress the American working woman because I, as a working woman with a child (from her previous marriage) didn’t want to spend hours shopping. Things should be easy. You don’t have to dress in that little navy blue suit with a tie,” Claiborne told trade paper Women’s Wear Daily in 2006.
“I wanted to dress her in sportier clothes and colors.”
Fashion designer Stan Herman, a former president of the Council of Fashion Designers of America, said he felt as if he grew up with Claiborne in the fashion industry. He recalled the first time they met was at a fashion-themed lecture at the Smithsonian Institute in Washington.
“She wasn’t `Liz Claiborne’ then, she was working for a dress company, Youth Guild, and she gave everyone a hard time for letting men get the best questions. I said, `It’s time you went into business by yourself.”’
He added: “She was tough but with soft knuckles.”
Elisabeth Claiborne was born March 31, 1929 in Brussels, Belgium. She moved to New York in the 1940s to pursue a career in fashion. She married Ortenberg in 1957 after divorcing her first husband, Ben Schultz. She and Schultz had a son, Alexander.
While Herman said that Anne Klein, a contemporary of Claiborne’s, is largely credited as the godmother of the American sportswear movement, Claiborne did it on a grander scale and brought it to the masses.
“She was perhaps the beginning of the great designer-stylists of our time,” Herman said. “She was a trained designer but, more than that, she had a vision of how women should dress. ... She suddenly understood the shape of women and the emancipation of shape and the change of a woman’s shape.”
The CFDA gave her a design award in 1985 and then a humanitarian award in 2000. “She came back looking better than ever. She wore a black tuxedo and a fedora, and the dark glasses that were her signature,” Herman recalled.
Claiborne founded the Liz Claiborne Foundation in 1981 to serve as a center for charitable activities, focusing on ending domestic violence, and promoting economic self-sufficiency for women and positive development for girls.
After retiring, Claiborne and Ortenberg spent much of their time in Montana, where they owned a ranch near Helena, and supported numerous local charitable, civic and educational groups.
They sponsored the Race to the Sky, a 350-mile sled-dog race, from 1991 to 1994. The following year they received the Governor’s Humanities Award for their financial support of causes such as the Montana Heritage Project.
Until her death, she was involved in the day-to-day activities of the Liz Claiborne Art Ortenberg Foundation, dedicated to wildlife conservation.
Meanwhile, after Claiborne and Ortenberg left the company, Chazen became Liz Claiborne Inc.’s chairman in 1989.
Paul R. Charron succeeded Chazen in the mid-1990s, and spearheaded an aggressive campaign to acquire different labels to diversify beyond the company’s namesake brands, which struggled with increased competition.
Last November, Bill McComb joined the company as CEO, succeeding Charron, and is overhauling the business again to meet the demands of the consolidated department store industry.
“In losing Liz Claiborne, we have not only lost the founder of our company, but an inspirational woman who revolutionized the fashion industry 30 years ago,” said McComb in a statement.
“Her commitment to style and design is ever present in our thinking and the way we work. We will remember Liz for her vision, her entrepreneurial spirit and her enduring compassion and generosity.”
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AP Writers Anne D’Innocenzio in New York and Len Iwanski in Helena, Mont., contributed to this report.
AP-WS-06-28-07 1937EDT
AT the start of any fashion writer’s career there is, waiting at the end, the dreaded article about older women and how they can never find clothes appropriate for their age. I swore on a stack of Vogues I would never write such a piece. It was totem journalism, predictable, worked at. Even the term “appropriate” has always seemed to me old hat, with violets on top.
So what changed? Juvenility has mobbed us. Even if a woman has a clear idea about what looks right on her body and for her age and personality, it’s hard to avoid the window displays of baby-doll and trapeze dresses; the T-shirt bars of ruffled cotton, airbrushed cotton and shrunken cotton; the girlish necklaces and charms; and all the companion editorial in magazines, with the frosted pinks and the long, long hair with little curls.
“The choice is to wear something juvenile or be a total killjoy,” Linda Wells, the editor of Allure, said with a laugh. “You can’t live in your Linda Evans suit.”
There are other choices, as Ms. Wells knows, and interviews with women ages 43 to 72, in places such as California and the Chicago suburbs and Paris, turned up a variety of solutions, as well as explanations for this simmering quarrel with fashion. If I heard an issue vocalized more often in the last year than the age-appropriate thing, I can’t think what it was.
It’s funny: Women in their 40s and 50s, even in their 60s and 70s, have probably never looked better, healthier or younger than at any time in recent history. They have access to gyms and spas, and of course they’ll try anything that will eliminate a wrinkle or a frown line. They are the anti-agers. And not only do they have a tremendous array of fashion choices, from chic Paris labels to anonymous vintage pieces to D.I.Y. looks, they also have the choice to not play the game at all.Chloé’s tailored shorts and knit henley-style top offer a sporty-chic alternative for a woman of any age.
Nora Ephron, whose very funny book, “I Feel Bad About My Neck,” refers to something called “compensatory dressing”— here, anything that compensates for a sagging neck — sounded puzzled when I told her that a lot of women complain that clothes make them look ridiculously young.“If you understand that that part of your life is over, there is plenty to wear,” said Ms. Ephron, who prefers trousers to skirts (“Just the thought of wearing pantyhose ...”), and finds things she likes at Savannah in Santa Monica, Calif., and Ultimo in Chicago. She admits that age-appropriateness in style can be very confusing, since “the new 50” can be 40 or, suddenly, with the wrong hairdo or outfit, 60, and it irks her when a designer discards a perfectly good look.
“I love those techno pants from Prada,” she said. “I love that they don’t wrinkle and you can wear them seven days in a row on a trip. But they’re all cut low now.”
She added, “You feel there has been an act of genuine hostility toward you by the designer” when they stop making something you’re able to wear. It’s like they don’t want you to have it, she said.This Chloé trapeze dress in silk crepe has a generous hem, which can be lengthened.
Susan Stone, who owns Savannah — where the customers are mostly over 40 — says the issue of age-appropriateness coincided with the demise of the pantsuit.
“A woman of any age could wear a pantsuit,” Ms. Stone said. “Now it’s all about the dress — the baby-doll, the tent, the mini.” She paused. “I don’t care how great you look, at a certain age you do not wear a mini. You look ridiculous.”
Ms. Stone says that some of her best client-friendly labels are Marni, Tuleh and Lanvin. “I can find fabulous jackets at Marni,” she said, adding, “and I sell the collection to women of all ages.”
She thinks Alber Elbaz, the designer at Lanvin, cuts a great sleeveless dress (“he always hides the ugly part under the arm”) and she says that whenever she goes into a designer showroom, “a dress with sleeves screams at me.”This boxy oatmeal tweed jacket from Moschino is forgiving, great for layering, and the cropped style is the shape of the season.
Douglas Chen, a buyer at Linda Dresner, which has stores in New York and Birmingham, Mich., said that one of their bestsellers for spring was a $1,790 Chloé dress in purple silk crepe with narrow sleeves that fell to just above the elbow. And it helped that the dress came with an extra five inches of hem, so it could be lengthened. “We sold almost every dress to someone over 40,” Mr. Chen said.Barbara Toll, who owns an art gallery in Manhattan, bought one of the Chloé dresses. “I think it’s the first dress I’ve bought in 10 years,” said Ms. Toll, an early devotee of Jil Sander and Helmut Lang. She laughed. “It was strange to see my legs coming out of the bottom.”
For a lot of New Yorkers like Ms. Toll, who want to look hip but not trendy, chic but not Uptown, it has been something of challenge to find a style as age-neutralizing as the minimalism of the early ’90s.
“It was the uniform for everyone,” she said, referring to Sander and Lang. She added, with a rueful laugh, “I don’t know if I got less interested in fashion or fashion got less interested in me.”
But Ms. Toll also observed, “I feel I look better and younger if things are following my body.”
This is an indisputable truth about fashion and aging. “Once you get to a certain age, it’s all about fit,” said Isabel Toledo, who designs for Anne Klein as well as her own label.Indeed, if women in their 40s and 50s feel inexplicably alien in a garment, Ms. Toledo said, it may be because there is simply a dearth of high-quality tailoring in the fashion industry. That is one reason you see a lot of trims on clothes — to compensate for poor fit.
“We’re not making fitted, well-cut garments that hang just on the body,” said Ms. Toledo, who in some of her own dresses will offer several different waistlines so a customer can get the one that fits her best.
A lot of women with young families and careers can’t be bothered with shopping — a larger problem for the industry, especially old-line department stores. As Natasha Fraser-Cavassoni, a writer in Paris, put it: “The idea of lunch with a girlfriend and then going shopping — I prefer to stick my hand in fire.”
After growing up in England, Ms. Fraser-Cavassoni sees a difference among the French and the Italians. “They don’t look at labels like the Anglo-Saxons do,” she said.
Label-mad or not, many American women can’t find the clothes they want, and have the means to buy. Audrey Smaltz, a fashion show producer in New York, is on her way to Las Vegas in two weeks to celebrate her 70th birthday with a dinner dance at the Bellagio hotel.
“I want to look sexy and they don’t sell sexy for a size 18,” said Ms. Smaltz, who asked Cassandra Broomfield, a custom dressmaker, to make her a short white dress for the party. Ms. Smaltz finds blouses and sexy tops in her size by Lafayette 148.
Recently, Courtney Hanig, an interior designer and a mother of two teenage girls in Winnetka, Ill., was shopping for outfits to wear to several coming events.
“I was willing to spend the dough, but I couldn’t find anything,” said Ms. Hanig, who has gotten mileage out of a fitted Carmen Marc Valvo jacket and her work attire of black pants and a white shirt, but admits with a laugh, “I’m, like, sick of myself, forget other people.”
She added: “I don’t want to look matronly. I think there’s this great divide between matronly and up-to-date mom.”
There are some very easy things you can do to avoid the age bind. Find a salesperson who knows your body type and will put aside clothes for you before they’re scooped by other customers. Cropped jackets by Dries van Noten are a good way to perk up a summer dress, especially if you want a little arm camouflage.
“A great tailor is a better than a surgeon,” said Ms. Wells, who suggests a little padding in a jacket’s shoulders to give you a lift. Nothing is more aging than makeup and hair. So avoid heavy concealer and dark lipstick and nails.
“Hair looks better when it’s slightly lighter than it was in your 20s and 30s,” Ms. Wells said. “And you don’t want it to look stiff — that’s just as aging on Mary-Kate and Ashley Olsen as it is on a 60-year-old woman.”