Bonnie Cashin is a pioneer in the sportswear industry and first designer of Coach handbags!

            
             One of America’s foremost designers in the second half of the twentieth century, Bonnie Cashin (1908 – 2000) was a pioneer in the sportswear industry, specializing in modular wardrobes for the modern woman “on the go.” Her lifelong interest in clothing design, however, encompassed a number of careers on both American coasts. Growing up in California, Cashin worked as an apprentice in a series of dressmaking shops owned and operated by her mother, Eunice. In her teens she worked as a fashion illustrator and dance costume designer. Between 1943 and 1949 she costumed more than sixty films at Twentieth Century-Fox. It was not until midcentury, when she was over forty years old, that she began designing the ready-to-wear for which she became best known.
              Cashin favored timeless shapes from the history of clothing, such as ponchos, tunics, Noh coats, and kimonos, which allowed for ease of movement and manufacture. Approaching dress as a form of collage or kinetic art, she favored luxurious, organic materials that she could “sculpt” into shape, such as leather, suede, mohair, wool jersey, and cashmere, as well as nonfashion materials, including upholstery fabrics. Cashin’s aim was to create “simple art forms for living in, to be re-arranged as mood and activity dictates” (Interview 1999).

Early Years

                As a girl moving along the California coastline, Cashin developed a love for travel and a keen eye for the clothing of different cultures, which would underpin her later professional work. This interest in “why people looked the way they did” placed her in good stead to begin work in 1924, alongside Helen Rose, as a costume designer for the Los Angeles dance troupe Fanchon and Marco. In 1934 her producers took over performances at New York’s Roxy Theater and asked Cashin to join them as costumer for the Roxyette dance line, the precursors and rivals to the Rockettes.

Fashion and Film

                In 1937 the Harper’s Bazaar editor Carmel Snow, an admirer of Cashin’s costume designs, encouraged Bonnie to work in fashion and arranged for her to become the head designer for the prestigious coat and suit manufacturer Adler and Adler. Owing to the wartime focus on American fashion design, she became so well recognized that she was commissioned to design World War II civilian defense uniforms and was featured in a Coca-Cola advertisement. By 1942, however, Cashin felt boxed in by wartime restrictions. She returned to California to sign a six-year contract as a costume designer with Twentieth Century-Fox.
Cashin designed costumes for the female characters in more than sixty films. Her favorite projects, Laura (1944), A Tree Grows in Brooklyn (1945), and Anna and the King of Siam (1946), also became American cinematic classics. Designing for the lavish productions that typified Hollywood’s golden age, she was expected to make innovative use of the day’s finest materials to create historical, fantasy, and contemporary wardrobes. She used the resources at the Fox studios to experiment with designs for “real” clothing that she wore and made in custom versions for her leading ladies’ offscreen wardrobes.

 

 "Laura"

 

A Tree Grows in Brooklyn 

 Anna and the King of Siam

Return to Ready-to-Wear

               Cashin returned to New York, and to Adler and Adler, in 1949. She received the unprecedented honor of earning both the Neiman Marcus Award and the Coty Fashion Critic’s Award within the same year (1950). Displeased, however, with her manufacturer’s control over her creativity, she decided to challenge the setup of the fashion industry. Working with multiple manufacturers, she designed a range of clothing at different price points, thereby specializing in complete wardrobes for “my kind of a girl for a certain kind of living.”
                In 1953 Cashin teamed with the leather importer and craftsman Philip Sills and initiated the use of leather for high fashion. She made her name through her unconventional choices in materials as well as her inexhaustible variations on her favorite theme of adapting the flat, graphic patterns of Asian and South American clothing to contemporary global living. Through her work for Sills and Company, she is credited with introducing “layering” into the fashion lexicon. In turn, she credited the Chinese tradition of dressing for, and interpreting the weather as, a “one-shirt day” or a “seven-shirt day.” Her layered garments snugly nestled within one another and were easily converted to suit different temperatures and activities by donning or removing a layer. Cashin’s objective was to create a flexible wardrobe for her own globe-trotting lifestyle, wherein seasonal changes were only a plane trip away. Frustrated by the categorization of sportswear designer, she declared that travel was her “favorite sport.”

Coach and the Cashin Look

                In 1962 Cashin became the first designer of Coach handbags and initiated the use of hardware on clothing and accessories, including the brass toggle that became Coach’s hallmark. She revolutionized the handbag industry. Unlike contemporary rigid, hand-held bags, her vividly colored “Cashin-Carries” for Coach packed flat and had wide straps, attached coin purses, industrial zippers, and the famous sturdy brass toggles, the last inspired by the hardware used to secure the top on her convertible sports car.
Without licensing her name, Cashin designed cashmere separates, gloves, canvas totes, at-home gowns and robes, raincoats, umbrellas, and furs. She also ran the Knittery, a consortium of British mills that produced one-of-a-kind sweaters knit to shape, rather than cut and sewn. Among many other industry awards, she received the Coty award five times and entered their hall of fame in 1972; in 2001 was honored with a plaque on the Fashion Walk of Fame on Seventh Avenue in New York City.

                Cashin worked until 1985, when she decided to focus on painting and philanthropy. Among several scholarships and educational programs, she established the James Michelin Lecture Series at the California Institute of Technology. Cashin died in New York on 3 February 2000 from complications during heart surgery. In 2003 the Bonnie Cashin Collection, consisting of her entire design archive and endowments for design-related lecture series and symposia, was donated to the Department of Special Collections within the Charles E. Young Research Library at the University of California, Los Angeles.

Activewear. Flash back

 

Cindy Crawford By Photographer Irving Penn For Vogue US, 1989

 

           The clothing known as activewear in the early 2000s traces its origins back to the high-performance sportswear designed for mountaineering, sailing, and hiking that became popular among urban youth during the 1970s. By the 1980s, such utilitarian styles swept through college campuses in North America, and, subsequently, sneakers were worn with suits, backpacks replaced briefcases, anoraks were paired with deck shoes, and sweatshirts were combined with khaki trousers or jeans. As the style began to characterize the sporty chic of city dwellers and coed campus life, activewear became a staple of the modern wardrobe.

            While activewear is often regarded as a contemporary style, the combination of street clothes, travel accessories, and sportswear is nothing new. In the 1930s and 1940s, the American designers Bonnie Cashin, Claire McCardell, and Vera Maxwell updated garments produced for travel, leisure, and sport with vestiges of high fashion. The designers made functionality a statement of style by producing easy-fit, loosely constructed clothing in fabrics such as wool, denim, and calico. One of Cashin’s signature garments was an overcoat with an integral purse, while Maxwell designed a jacket with built-in bags rather than pockets. Such garments were conceived as urban tools that expanded into wearable luggage, widening the appeal of apparel that could maximize the performance of clothing as well as the body’s ability to transport necessities with ease.

1930

 

Vogue June 1 1940, Lisa Fonssagrives

         For several decades, activewear was characterized by bulky, loose-fitting garments. As the body-conscious styles of the 1990s took hold, activewear gradually became more tailored and form-fitting, yet continued to suit the active leisure interests of urban dwellers. Dress codes became more fluid as Rollerbladers, inner-city cyclists, and speed-walking pedestrians dressed in smart basics that moved easily and provided protection from adverse weather. Mobility and versatility became key considerations for professionals, who started commuting to work in sneakers and multifunctional outer garments. Many were made with detachable hoods that transformed overcoats into raincoats as they were buttoned or zipped into place, or designed with removable collars and detachable sleeves that could be adapted to weather changes.

The hoods, zip-front seams, windproof jackets, pouch pockets, Velcro, and magnetic fastenings of activewear have become part of the everyday fashion vocabulary, along with drawstrings fitted at the neck, sleeve, and waist to make zippers and buttons redundant. Maharishi popularized these tailoring details on the catwalk as the 1990s drew to a close, updating them with elements of occupational uniforms to create a signature militaristic style. The rise of activewear’s popularity throughout the 1990s indicated that the traditional compartmentalized wardrobe no longer sustained shifting social and cultural needs. As the style formed an essential part of the modern wardrobe, it encouraged the movement of materials and technologies across disciplines, moving high-tech fabrics into the collections of forward-thinking fashion designers. Activewear’s multifunctional, dynamic features seemed to herald the dawn of twenty-first century fashion in garments that fused fashion with high-performance sportswear.

              Labels such as CP Company, Mandarina Duck, Issey Miyake, Vexed Generation, and Final Home were among the first to use advanced textile technology to create an edgy, urban aesthetic in designs as durable as they were chic. CP Company led the pack with designs that transcended fashion altogether; their overcoats transformed into one-person tents or inflated into air mattresses, and their parkas puffed up into armchairs. The garments are transformed by the wearers themselves, introducing a notion of technical skill required beyond the point of purchase. Likewise, the “Jackpack,” designed by Mandarina Duck in Italy, integrated a backpack’s straps, fastenings, and compartments within the fabric of the jacket’s back panel. By taking the jacket off, turning it inside out, and folding the sleeves, lapels, and fabric panels into an internal pouch, the structure of the garment was completely transformed. The pouch contains other zippered compartments for stowing away shopping or other items of clothing. Issey Miyake, for his “Transformer” series, also designed cotton jackets that concealed a nylon raincoat within.

Mandarina Duck

            The British fashion duo Vexed Generation countered the problems of modern life with clothing crafted from bullet-proof and slash-proof materials. Their designs combined high-performance fabrics with cutting-edge street style in garments incorporating many of the functions associated with protective clothing. Temperature-regulating materials manufactured for sportswear were incorporated into their winter coats, ending the need for bulky layering. By lining jackets and overcoats with phase-change materials such as Outlast, Vexed Generation created outer garments that could function as personal thermostats. Tiny paraffin capsules in the phase-change fabrics expand when body temperature climbs, absorbing the heat. Once body temperature drops below 98.6° F (37° C), they contract, releasing the heat they have stored. By maintaining a mean temperature within changing climatic environments, Vexed Generation created a comfort zone for the wearer.

The Vexed Parka created in 1994 a very popular design by Vexed.

               The Japanese designer Kosuke Tsumura’s signature garment, the Final Home jacket, expands the mobility of activewear into an expression of architecture as he claims that clothing constitutes the ultimate shelter. The multifunctional, transparent jacket is a nylon sheath equipped with forty-four zippered pockets that can be lined with warm materials for extra insulation, or cushion the wearer when sitting or reclining. Tsumura sees the jacket as a protective shell that enables the wearer to withstand harsh weather conditions. Along with personal items and accessories, Tsumura suggests that some of the pockets be filled with survival rations and practical supplies, eliminating the need for backpacks, shopping bags, luggage, and even tool kits.

Final Home Jacket

            As fashion consumers continue looking to activewear to reconcile the demands of the modern lifestyle, the boundaries between street clothes, office attire, and sportswear are blurring even further. High-performance designs and technologically advanced textiles are common to all three, as comfort, flexibility, and protection become central to all parts of the modern wardrobe. As the garments are updated with innovations that transcend conventional clothing, activewear is proving to be one of the fastest moving areas of fashion in the early 2000s. New tailoring techniques radically streamline the designs each season, and future styles of activewear portend such sophistication that the gym is probably the last place one can expect to see them.

 

1970

 

1980s 'Red Robin' Active Leisure Wear, (Australian brand) photo Bruno Bernini

 

80s 90s Neon Glow Green and Black Bikini Top // by VelvetWillows

Edith Head Biography

Fashion Designer (1897–1981)

 

 

 

      Edith Head was one of the most prolific costume designers in 20th century film, winning a record eight Academy Awards. She's known for films such as 'All About Eve,' 'Roman Holiday' and 'The Sting.'

Synopsis

     Born on October 28, 1897, Edith Head became chief designer at Paramount Pictures in 1933 and later worked at Universal Studios. Hollywood's best-known designer, Head's costumes ranged from the elegantly simple to the elaborately flamboyant. She won a record eight Academy Awards for her work in films such as All About Eve (1950), Roman Holiday (1953), The Facts of Life (1960) and The Sting (1973).

Early Life and Education

     Legendary American costume designer Edith Head was born Edith Claire Posener on October 28, 1897, in San Bernardino, California, the daughter of a mining engineer. Head relocated several times during her youth, growing up largely in Arizona, Nevada and Mexico. After graduating from Los Angeles High School, she attended the University of California, Berkeley, where she received her Bachelor of Arts degree in letters and sciences (earning honors in French), and then went on to enroll at Stanford University, where she earned a Master of Arts degree in romance languages in 1920.

Commercial and Artistic Success

     After receiving her M.A., Edith Head served a brief stint as a schoolteacher. Then, in 1923, Head landed the position of sketch artist, then design assistant at Paramount Studios in Los Angeles. In 1938, Head was named chief designer at Paramount Pictures. She remained at Paramount for 44 years until 1967 when she moved to Universal Studios, where she became known for personally phoning producers and directors who were working on important films for the studio to offer her services.

Head received her first Academy Award nomination (Best Costume Design, Color; shared with designer Gile Steele) in 1949, for her design work in the 1948 film The Emperor Waltz, starring Joan Fontaine (Johanna Augusta Franziska) and Bing Crosby (Virgil Smith). Head won her first Oscar (Best Costume Design, Black-and-White; shared with designer Gile Steele) in 1950, for her costume work in 1949's The Heiress.

     Head's costumes ranged from the elegantly simple to the elaborately flamboyant. The celebrated visionary continued to be an artistic force with other films from the decade, including All About Eve (1950), Roman Holiday (1953), Sabrina (1954), To Catch a Thief (1955), The Ten Commandments (1956) and Houseboat (1958). And the 1960s saw Head serving as designer for movies like The Nutty Professor (1963), The Carpetbaggers (1964), the Natalie Wood comedies Sex and the Single Girl (1964) and Penelope (1966), Chuka (1967) and Barefoot in the Park (1967), among many other projects.

Record-Setting Oscar Wins

     By 1970, Head had received her 31st Oscar nomination, specifically for her work on Bob Fosse's 1969 musical Sweet Charity, starring Shirley MacLaine (Charity) and Ricardo Montalban (Vittorio). Head had also reunited with iconic director Alfred Hitchcock (the two had worked together on previous Hitchcock films like Rear Window, Vertigo and The Birds) for Topaz (1969), and with George Roy Hill for Butch Cassidy and the Sundance Kid (1969), starring Paul Newman and Robert Redford. She later called the latter film her favorite movie, stating, "In terms of sheer entertainment, not in terms of my designing ... It had everything—humor, action, romance and the two handsomest men in Hollywood." 

In 1978, Head was honored with her last Oscar nomination (Best Costume Design; shared with Burton Miller), for her design work in Airport '77. She had won her eighth and last Oscar four years earlier, in 1974—setting the record for most Oscars won by a woman (a record she still holds today)—for her work in Hill's The Sting (1973).

Later Years and Legacy

     By the end of her lifetime, Edith Head had secured her legacy as Hollywood's best-known costume designer. During her career, Head worked on more than 1,100 films, received 35 Oscar nominations and took home eight statues. She was also known for having designed uniforms for female members of the U.S. Coast Guard towards the end of the 1970s. She also authored the books The Dress Doctor (1959), How to Dress for Success (1967) and the posthumous, autobiographical Edith Head's Hollywood (1983). 

The iconic designer died on October 24, 1981, at the age of 83, in Hollywood, California.

 

 http://www.biography.com/people/edith-head-9332755#commercial-success

 

 

 

5 styles that are out for 2015

Say buh-bye to all that thigh. Consider the midi the sophisticated cousin to the wild-child mini of 2014.

OUT: Mini skirts; IN: Midi skirts




Boom! And just like that, the ubiquitous graphic clutch was forced to make way for the more-polished top-handle bag.

OUT: Pop-art clutches; IN: Ladylike handbags


In the ugly-shoe wars, the indomitable Birkenstock style no longer has the clear edge. Prepare to get your shuffle on in an equally comfy clog in the new year.

OUT: Birkenstock-style sandals; IN: Clogs




Check it out: No longer just for the boys, gingham is our new go-to — lighter, brighter and more feminine than traditional plaids.

OUT: Plaid; IN: Gingham




Pantone’s color of 2014, Radiant Ochid, is so over. Now, pop the cork and take a swig of rich, full-bodied Marsala: The earthy-chic hue is destined to color everything from cheeks to chairs in the new year.

OUT: Radiant orchid; IN: Marsala



http://nypost.com/2014/12/27/5-styles-that-are-out-for-2015/

32 Great Author Quotes On Fashion

1. Fashion has delighted and tormented us for as long as there have been clothes to wear. Iconic designers and culture cognoscenti have left us with as many unforgettable quotes about style as groundbreaking trends. Quotes like "I don't do fashion, I AM fashion," by Coco Chanel, or Simon Doonan's “Wear red and other women will assume that you are a predatory vixen who is out to steal their husbands and suck the blood of their children."

Even politicians recognize fashion’s power — as potential 2016 presidential candidate and pantsuit icon Hillary Clinton once remarked, “If I want to knock a story off the front page, I just change my hairstyle.” In honor of Fashion Week, we review some of the best quotes that authors have to offer on the world of fashion, from ancient Greek literature and haute-couture biographies to the pages of chick lit and YA dystopias, poetry, and pop memoirs. Read on for some truly Chanel-worthy gems.

 

2. "Each girl had her own individual style when it came to piling on the makeup. My particular thing was to draw an extra-wide stroke emphasizing the crease of the eye socket and add extravagantly long, spidery lines below the eye, a little like doll's lashes, then paint a dot toward the inner corner for reasons I can't exactly articulate except that it looked nice and ‘now.’ Later I discovered my crazy new eyelash look being called ‘twiglets’ and credited to the young British model Twiggy. Well, they were very much mine. I was probably doing them before she was born!”
― Grace Coddington, Grace, $24.90, available at Barnes & Noble. 

3. "Frankly, in terms of lingerie, I felt sexiest in my uniform: high waist cotton panties...and a sports bra, if any bra at all. Lingerie seems not to be the vehicle that produces feminine self-confidence and sexiness, but rather the vehicle to get a rise out of our male counterparts."
― Leandra Medine, Man Repeller, $16.95, available at Barnes & Noble.

 

4. “Vain trifles as they seem, clothes have, they say, more important offices than to merely keep us warm. They change our view of the world and the world's view of us.”
― Virginia Woolf, Orlando, $12.95, available at Barnes & Noble.

 

5. “Old age is no longer an achievement because if others are aware of it you are only the loser, you become a responsibility and your end is good riddance as you are no longer a useful citizen ― clothes, fashion, and appearance are part of present day life ― no one looks for perfections as it is static, but everyone expects an amusing effort, well planned and thought through, and carefully maintained.”
― Diana Vreeland, Memos: The Vogue Years, $37.62, available at Amazon.

 

6. “Every designer needs an iconic look. If the South Park boys cannot make a recognizable cartoon of you, then you need to up the ante. You need a signature flourish, non?”
― Simon Doonan, The Asylum, $19.08, available at Barnes & Noble. 

 

7. “I'm sure they didn't notice anything but you. You should wear flames more often,’ he says. ‘They suit you.’”
― Suzanne Collins, The Hunger Games, $6.10, available at Barnes & Noble. 

 

8. “It was my friend Frank, a writer in San Francisco, who finally set me straight. When asked about my new look he put down his fork and stared at me for a few moments. ‘A bow tie announces to the world you can no longer get an erection.’”
― David Sedaris, When You Are Engulfed in Flames, $13.89, available at Barnes & Noble. 

 

9. “Boys say they don't mind how you get your hair done. But then they leave you for someone with really great standard girl hair and the next thing you know you're alone with a masculine crop crying into your granola.”
― Alexa Chung, It, $24.73, available at Barnes & Noble. 

 

10. “This was the first time since I’d started working there that I hadn’t received a look of all-out disgust or, at the very least, a snarky comment, and all it had taken was a SWAT team of New York fashion editors, a collection of Parisian hair and makeup stylists, and a hefty selection of the world’s finest and most expensive clothing.”
― Lauren Weisberger, The Devil Wears Prada, $12.79, available at Barnes & Noble. 

 

11. “And when I say the Fashion Police, of course I’m speaking of the small group of screeching gay guys and fashion ‘experts’ on that E! show led by the reanimated corpse of Joan Rivers.”
― Mindy Kaling, Is Everyone Hanging Out Without Me? (And Other Concerns), $10.17, available at Barnes & Noble. 

 

12. “She wore tight corsets to give her a teeny waist ― I helped her lace them up ― but they had the effect of causing her to faint. Mom called it the vapors and said it was a sign of her high breeding and delicate nature. I thought it was a sign that the corset made it hard to breathe.”
―Jeannette Walls, Half Broke Horses, $11.96, available at Barnes & Noble.

 

13. “Fashion is what one wears oneself. What is unfashionable is what other people wear.”
― Oscar Wilde, An Ideal Husband, $7.95, available at Barnes & Noble.

 

14. “I love new clothes. If everyone could just wear new clothes every day, I reckon depression wouldn’t exist anymore.”
― Sophie Kinsella, Confessions of a Shopaholic, $7.99, available at Barnes & Noble.

 

15. “My attitude is if fashion says it's forbidden, I'm going to do it.”
― Michael Jackson, Moonwalk, $20.26, available at Barnes & Noble.

 

16. “I like my money right where I can see it…hanging in my closet.”
― Candace Bushnell, Sex and the City, $7.99, available at Barnes & Noble.

 

17. “I once saw a Betsey Johnson runway show that featured thongs and ‘ass cleavage,’ and I thought, This is the future. I immediately pulled my thong over my hipbones, pulled my baggy hip-hop jeans down a little too low, and went to the movies with a friend who didn't tell me, until years later, how mortified he was to be seen with me."
―Cintra Wilson, It's So You: 35 Women Write About Personal Expression Through Fashion and Style, $12.77, available at Barnes & Noble.

 

18. “She was wearing an ivory silk blouse with a wedding present-sized bow, a long brown cardigan the color of dog doo, boot-legged camel-colored wool trousers with a crease down the front of each leg, and matching patent leather flats with hieroglyphic-like gold hardware on each toe. Olympia had never understood where her sister got her fashion sense...‘New pants?’ she found herself asking.”
― Lucinda Rosenfeld, The Pretty One, $11.25, available at Barnes & Noble.

 

19. “Nothing is so hideous as an obsolete fashion.”
― Stendhal, On Love, $14.24, available at Amazon.  

20. “Needle, needle, dip and dart,
Thrusting up and down,
Where's the man could ease a heart
Like a satin gown?”
― Dorothy Parker, Complete Poems, $13.26, available at Barnes & Noble.

 

21. “There's never a new fashion but it's old.”
― Geoffrey Chaucer, The Canterbury Tales, $14.24, available at Amazon.

 

22. “Boys are like purses. You're always gonna have that one boy that you're always comfortable with and you know you'll always kind of like. That's your purse that you wear everywhere. Then you have that gorgeous bag that you want everyone to see you with but the gorgeous bag is usually an asshole or costs a lot of money. Then you have those other purses that you really like but you really don't want to be seen with.”
―Lauren Conrad, Sugar and Spice, $9.99 available at Barnes & Noble.  

23. “Simplicity in character, in manners, in style; in all things the supreme excellence is simplicity.”
― Henry Wadsworth Longfellow, Kavanagh, $9.89, available at Amazon.

 

24.  “Joan of Arc had style. Jesus had style.”
―Charles Bukowski, Portions From a Wine-Stained Notebook, $13.79, available at Amazon. 

25. “Being perfectly well-dressed gives one a tranquility that no religion can bestow.”
― Ralph Waldo Emerson, The Essential Writings of Ralph Waldo Emerson, $14.27, available at Barnes & Noble.

 

26. “Any man may be in good spirits and good temper when he’s well dressed. There ain’t much credit in that.”
― Charles Dickens, Martin Chuzzlewit, $14.58, available at Barnes & Noble. 

27. “I base my fashion taste on what doesn't itch.”
― Gilda Radner, It’s Always Something, $11.34, available at Barnes & Noble.

 

28. “She was very near hating him now; yet the sound of his voice, the way the light fell on his thin, dark hair, the way he sat and moved and wore his clothes — she was conscious that even these trivial things were inwoven with her deepest life.”
― Edith Wharton, The House of Mirth, $10.29, available at Barnes & Noble.

 

29.  “Know first who you are, and then adorn yourself accordingly.”
― Epictetus, The Discourses of Epictetus, $8.96, available at Amazon. 

30. “Putting on a beautifully designed suit elevates my spirit, extols my sense of self, and helps define me as a man to whom details matter.”
― Gay Talese, The Gay Talese Reader, $12.05, available at Barnes & Noble.

 

31. “The boor covers himself, the rich man or the fool adorns himself, and the elegant man gets dressed.”
― Honoré de Balzac, Treatise on Elegant Living, $9.88, available at Amazon. 

32. “The Yanks always wore neckties that leapt out in front of their shirts, as if to announce the awkwardness to follow.”
― Tom Wolfe, The Bonfire of the Vanities, $14.93, available at Barnes & Noble.

 

33. “The point of jewelry is to pay respect to those for whom, and at whose homes, one wears it.”
—Coco Chanel, The Allure of Chanel, $15.77, available at Barnes & Noble.


 













http://www.refinery29.com/fashion-quotes#slide-38