Debutante Clothing :: A vintage clothing and fashion blog for unconventional style where vintage and runway meet.

Kelsi of Dedicated Follower of Fashion was sweet enough to ask me to do an interview for her new column called Avant Garb. I love talking about vintage to anyone who will listen so this was a fun opportunity. I'm flattered to have been asked. Go check it out!

About a year ago, the news broke that Kristen Stewart would be playing Joan Jett in a film about the Runaways. When Dakota Fanning was cast as lead singer Cherie Currie, we got a movie starlet combo made of glittery, glam rock gold. And the woman behind the spandex, leather, and sequins is costume designer Carol Beadle.

After having won awards for costuming and styling music videos for names as huge as David Bowie, The Killers, and Marilyn Manson, costuming a film about rock and roll chicks would be a natural extension of her professional aesthetic and personal style.

Beadle got her start in the mid-90s, reworking and reinventing vintage clothing for music videos on a shoestring budget. Word about her crafty styling skills spread and musicians such as Marilyn Manson and Alanis Morissette sought her out.  "Even though I have larger budgets to work with now, I continue to update secondhand and vintage garments," says Beadle. "It's a fantastic way to create interesting couture costumes."

I was flattered that Carol agreed to an interview with Debutante Clothing. Carol talks about 1970s fashion, musicians turned designers, and Cherie Currie's thoughts on the costuming for Dakota Fanning!

Finding great vintage seems to be getting harder. Is there still good 70s stuff out there? What was your experience like?

It's getting harder and harder for sure. I would come across some things, but you really have to pick through things to find the special stuff. Although for a while there was tons of 70s stuff. But now the 80s are really big so there isn't much 70s on the floors at the vintage stores.

You use a lot of vintage in your costume designs. Do you personally wear vintage?

I used to wear vintage a lot. Now I wear a few vintage pieces mixed with more fashion forward designers. I still use a lot of vintage for costumes though.

What were some of your favorite vintage pieces for the film?

I really liked the blue velvet jacket with the stars on it. Some of Dakota's pieces were my favorite. Dakota wears this halter jumpsuit with gold piping down the side.

It sounds like Dakota's character, Cherie Currie, was your favorite to costume...

I think it's because I dressed her the way I think I would've dressed at that time. Sandy was a bit tougher, a bit more tomboy. Lita had bigger breasts than I personally had. I felt closer to that way of dressing.

Cherie was the more glamorous one...

Yeah. Exactly. I loved Joan or Kristen's costumes, but her wardrobe didn't change quite as much. I loved her T-shirts - I would've worn those in a second. I was way more punk. My musical interests were more like Joan Jett's probably. So I don't know why I loved Dakota's costumes so much. They just really appealed to me.

How have Joan Jett and Cherie Currie reacted to their portrayals? Did they have any input in the costuming?

They didn't have any input actually. Joan was there every day. She was nodding and she never said, Oh that's not right. Cherie wasn't there every day but there were times when she would come up to me and say, "My god, you just nailed it. I wore all of this stuff. You got it!" And I'm thinking, Ok, I just had Cherie Currie tell me it was right. It doesn't get much better than that.

The next day she came with her personal Bowie belt. These were special things - these buttons and belts that you had in the 70s. These special treasures that we made. It was so DIY.

Do you think The Runaways will influence designers and contemporary fashion like Mad Men did?

Honestly, I feel like we've seen this look already. I don't think designers will really be influenced. Maybe the younger designers and kids. I personally like high waisted jeans. I think girls look good in them so it would be nice to see those. It would be great to see teens and those in their early 20s get into satin, high waisted pants tucked into some of these platforms that are out right now because they saw it in The Runaways. That would be cool. That's exciting to me. Maybe that will happen, but I don't know how far this will touch people.

You've worked with a lot of great musicians - David Bowie, the Killers. How do you approach costuming musicians differently from actors?

When I'm costuming a film, it's about telling a story with the costumes. Music videos are more about the visual.

How do you feel about musicians who become fashion designers?

I would rather know who is the designer behind the musical artist because I really don't believe they are doing it. I think it's a collaboration. I know Gwen Stefani is not doing that all on her own. I think it's great if they lend their name and face to it and put up all the money. I think that's awesome. I'm not a big fan. Unless you can prove it, I'm not a fan of people who claim they can do everything. I believe they can sing or play guitar and that they have great style, but 99% of the time there is going to be a stylist or designer behind them so I'd be more interested in seeing them put out a line of clothing.

You can see a video interview with Dakota Fanning and Kristen Stewart about their experience with the costumes of The Runaways on Elle.com.

Have you seen the movie yet? Tell me what you thought?

I was thrilled to be able to attend a panel during Los Angeles Fashion Week titled 110 Years of Fashion: How Vintage Inspires 21st Century Trends. It was hosted by California Market Center and WGSN, a trend forecasting company.

I was so excited to meet Doris Raymond, finally. Even though I live in Southern California, I fear I am succumbing to the plight of the blogger and never getting out. I will have images later this evening, but I wanted to show you the mini interview I got with Doris Raymond. If I seem a bit nervous, I was! I have admired Doris and her work for a long time and it was like being in front of a rock star. Let me know how you like the video! Oh, Kelsi of Stylesmith.com and Dedicated Follower of Fashion is behind the camera. Thanks Kelsi!

Enjoy!

I don't know one vintage dealer or collector who doesn't fantasize about walking into someone's basement and finding a room full of hardly used, or never used, vintage fashion. It's the stuff urban legends are made of. But in the case of Circa Sixty Three designer, Danielle Insetta, it was an incredible twenty ton find that led to a fashion forward, vintage jewelry line.

I was able to snag an interview with Danielle of Circa Sixty Three who is gracing the pages of WWD Accessories and Marie Claire with her colorful baubles. I love plastic jewelry and collect it myself - Bakelite and Lucite mostly. Many jewelry designers are highly influenced by vintage plastic jewelry including Alexis Bittar. Danielle talks about the big score, her inspiration, and how to find and care for Lucite.

How on Earth does one acquire 20 tons of Lucite jewelry?

You have to search for it and know what you are looking for. There are plenty of vintage beads out there, but to find a stash this big you have to do some research. All of the beads and bangles in our collection originate from the same plastics factory in Providence, RI. I first found the beads in a bead store. I dug around a little online and in a few collectors' books and found the name of the original company, Best Plastics. The dead stock had been stored in the warehouse of a wholesale bead dealer who I came across in my research. Not only did I find the rest of the dead stock in Rhode Island, I found some of the original factory workers. They were able to verify my research on the company. It turns out the company made parts and jewelry for Trifari, Missoni, Diane von Fürstenburg, Lanvin and Givenchy.

Can you describe the collection?

We named this collection "Frontier" because it is inspired by the future and science. It is inspired by the shape of molecules and planets. There is an element of sci-fi throughout the collection. The color palette is sophisticated with a touch of whimsy. For example, we use a bit of neon here and there. The pieces are definitely statement pieces that can be worn for any occasion, whether it be to a dinner, a night club or even to work. They are very versatile. Definitely collectors' pieces, especially due to the fact that the beads are vintage and that the pieces are extremely limited and completely handmade.

Not everything in the collection is original dead stock Lucite. Some pieces are new pieces made from vintage Lucite. What inspires your designs?

I design 100% of the beaded jewelry. The bangle bracelets are the only pieces not designed in house. They are original. I am generally inspired by the space age and the 1960s. I am inspired by the designers of the day such as Paco Rabanne and Andre Courreges. I want to be true to the era in which the beads were manufactured and the designs that were being produced in the day.

Vintage fans will always love Lucite jewelry. How has the rest of the fashion world reacted to the collection?

The collection is novel. There is nothing like it out on the market. It does incorporate trends and is relevant to what is happening now in fashion, but it truly is unique. The main buyers of our wholesale jewelry are high end luxury department stores in the US, Europe and Japan. They are looking for something new. I think that we have seen the same look for several seasons now, and it is time for a change. It does not hurt that Lucite is insanely popular right now. Many, many designers are using the material in their jewelry.

Can you tell us a bit about how to identify Lucite and how to care for it?

Lucite has a certain weight to it as well as a special optical quality. It is not like Bakelite in that it is synthetic. Lucite can be distinguished from ordinary plastic in that it does not have seams. Plastic is poured into a mold which leaves a slight seam on one side. Lucite is carved out of a chunk. It is sculpted using lathes and similar machines so there is no seam. One great thing about Lucite is that if it is scratched, that scratch can be buffed out very easily with a plastic polish. Polish can be found in any hardware store. Lucite is also known as acrylic.

Check out the entire collection and prepare yourself to be mesmerized by pages of candy-like vintage Lucite jewelry. Visit www.circasixtythree.com

I was so happy to finally get to write an article for my monthly column for Today's Vintage Magazine on a dear friend and vintage fashion colleague, Marc Joseph. Marc is one of the nicest guys you will ever meet. And his unwavering enthusiasm for vintage clothing and this crazy business is so inspiring.

I drove out to Palm Springs, the location of his new Secret Back Room, one sunny afternoon to interview him for the magazine, but more importantly, to catch up on his latest desert adventures.

Here's an excerpt from the article - hopefully it will entice you to go read the rest...

When you think of Palm Springs, visions of mid-century glamour and architecture spring to mind. The playground of modern design, poolside celebrities, and cocktails is the new home of vintage collector and dealer, Marc Joseph. Joseph has left the bright lights of Los Angeles for the warm sands and statuesque palm trees of mid-century Mecca. After several years of running his exclusive vintage clothing show room on Beverly Blvd., Joseph opened a unique show room called "Secret Back Room". It's the type of place that only the fashionable people "in the know" have access to.

Tucked away in a private suite off Palm Canyon, Secret Back Room is bursting at the seams with vintage treasures from names such as Mainbocher, Trigere and Mr. Blackwell. The collection even features some of the most collectible 80s designers such as Thierry Mugler and Gianfranco Ferre. There is also an impressive collection of shoes ranging from 1930s baby doll pumps and 1970s patchwork boots to designer footwear such as Ferragamo loafers. Recently, the Russian shoe museum, Shoe Icons, purchased a pair of 1920s pumps from Joseph for their collection.

Marc is having a vintage fashion show on Saturday, February 20, as part of the closing weekend of Modernism Week. Tickets are still available. I'll be there!

Last Sunday, Mary Kincaid of Zuburbia, and I headed out to the Santa Monica Vintage Expo for some shopping and long, overdue blogger/vintage maven meet up time. I wasn't necessarily shopping for anything in particular, and definitely not shopping for resale. I was really looking forward to meeting some of my favorite sellers and bloggers in person though.

liz, me, mary

I didn't have any celebrity sightings this time, but I did find some amazing couture vintage. It's like an archive!

I was thrilled to meet up with Liz Baca, the lovely treasure hunter at GottaGetTheGoods.com. I was able to convince her to do a short video interview about her Vintage Expo experience...

I also got to chat with Kristine of Elsewhere Vintage in Orange, CA. She has the most amazing selection of mid-century vintage and is opening a vintage clothing store just for men!

I also met Janet of Woodland Farms Antiques in Texas who is a fellow Vintage Fashion Guild member.

janet and me

You would've loved my little red hat! I wish I would've gotten a better picture of it. It has a velvet appliqued arrow across the top. It's very whimsical and surreal. I love it.

It was a great shopping, talking shop, and mingling sort of event. Mary and I cooked up some ideas and shared our vintage empire dreams over lunch. It was a great afternoon.

Are you liking these videos? I'm really enjoying doing them. Let me know what kinds of videos you would like to see!

Last month, Gucci and Christie's announced a unique new service - "Gucci Collector: Presented by Christie's." This is the first Gucci-certified online destination for appraising vintage Gucci products. It is such a needed service and I am so thrilled and amazed that Gucci is contributing to the evaluation of vintage Gucci products.

I was lucky enough to secure an interview with Patricia Frost, the Director of Textiles and Fashion at Christie's. I was eager to ask her about the new service. She was so generous with her time. Here's what Ms. Frost had to say about Gucci and Christie's joint effort...

How did the collaboration between Gucci and Christie's come about?

Christie's has been holding sales in fashion, textiles, costume and vintage accessories since 1975. Gucci was aware of the specialists sales held at Christie's, and of our expertise in this field, and approached us with the idea to collaborate in some way in order to provide our clients with a unique service. Gucci Collector evolved from these discussions.

Is Christie's planning a vintage Gucci collection auction?

A Gucci auction is a distinct possibility. We have had a wonderful response so far through the new GUCCI COLLECTOR service, but we are currently valuing items and so nothing is certain at this early stage.

This is such a generous service. Does Christie's normally appraise vintage designer pieces in this manner?

Absolutely. Our website (www.christies.com) has an appraisal section where anyone can send us images and descriptions of their pieces, not just for fashion and textiles, but any one of the auction categories we offer. At Christie's South Kensington we also have a valuation desk which is open 7 days a week.

Gucci is opening a museum in Florence. Will some items be sought for the museum?

Gucci's archivist is certainly on the look out for interesting, historic pieces that they might wish to acquire for their archives. Whether they will buy items for the museum depends on what is submitted through the Gucci Collector site.

How will the pieces be chosen for auction versus archives? Is Gucci looking for a holy grail for their vintage archives?

Gucci and Christie's will look at each enquiry together and offer the client alternatives, depending upon their item. The oldest and rarest of items are sure to be of more interest than newer models, but you never know what people may submit.

What are Christie's and Gucci hoping will be uploaded by people seeking appraisals?

Hopefully we will discover interesting, unusual and exciting pieces that have been hiding in people's attics for generations!

Will Gucci be buying these directly from people or will everything go to auction?

If there is a piece that Gucci would like for their archives, they will express their interest.

So far, what types of vintage Gucci pieces have been uploaded?

At the moment it is too early to tell as we are still downloading the items which have been submitted - in the first 10 days of offering the Gucci Collector service, we received over 75 appraisal requests. However, I have seen some good 1970s bamboo handled bags among them.

Will Christie's and/or Gucci provide documentation to the owner of an item's worth or history?

All our evaluations will be subject to inspection of the actual piece in due course. No evaluation based on photographs alone can be definitive and may be revised upon seeing the item.

I often get questions about the authenticity of designer handbags. What will be done about fraudulent or counterfeit items that are presented to you?

Questions of authenticity can only be examined in person with the bag in front of you.

I have never seen a luxury brand reach out to its consumers like this. Do you anticipate similar collaborations or services with luxury brands?

We at Christie's are always looking for new and improved ways of meeting our clients needs, and strive to provide a unique and good quality service for all levels of our business. Should the right opportunity arise, further collaborations would not be out of the question.

Luxury brands are notoriously behind when it comes to online marketing and social media. Does Gucci plan on engaging more with its consumers and collectors online?

I can't answer for Gucci - but this initiative does seem to suggest that they are a very forward looking company.

All images courtesy of Christie's Images Ltd. 2010

What's Out: the Fashion Trend (WSJ)
"Trends are diluted," says Doris Raymond, owner of the Los Angeles vintage store The Way We Wore. That's because designers have in the past two decades "referenced every possible fashion period for inspiration."

MILLENNIAL PERSPECTIVE: Vintage Fashion & The Twice-Around Economy (NewGeography)
One impact of the recession has been a fundamental change in consumer clothing purchase patterns. Luxury retailers' losses have been second-hand retailers' gains. Internet marketers have also been uniquely positioned to benefit.

Coco Rocha Talks to StyleList About Her New Fashion Line (StyleList)
What I'm inspired by is vintage clothing, especially things from the 1800s, the Elizabethan times. But wearing anything from that period is like wearing a costume, so I'm trying to find a way to modernize it.

Julia & Penelope's Golden Globe Vintage was Ho Hum (About.com)
Julia Roberts's vintage jersey Yves Saint Laurent dress was too simple and casual for an event like the Golden Globes.

Life With Decades' Cameron Silver! (Fashionista) Candy Pratts Price says that "September's the Jannnnuary of fashion," and I'm tempted to mimic, "Cameron Silver's the Laaaagerfeld of vintage."

My latest article for Today's Vintage magazine is live. I got to interview two of my favorite vintage loving girls, Solanah of Vixen Vintage and the famous pin up model, Bernie Dexter. You won't find sweeter, more fabulously stylish women then these two. Check out the article on TodaysVintage.com.

By the way, what other type of vintage articles would you be interested in reading?

My latest article for Today's Vintage, a magazine for the collectibles and vintage, is live! It's all about one of my favorite aspects of vintage fashion - vintage couture. You'll see some familiar names in the article too. Doris Raymond of the Way We Wore, Katy Kane of Katy Kane Vintage Couture, and Cherie of Shrimpton Couture. It was great interviewing all of three of these lovely ladies, and clothes! Oh the clothes.

Here's a snippet:

Look Like a Million Bucks in Vintage Couture
9/1/2009
By Sandra Mendoza-Daly, Editor, DebutanteClothing.com
Even in a down economy, the vintage clothing market is moving steadily along. One particular segment of the vintage fashion sector is surviving the tightening of the proverbial belt and no doubt the belt bears the name Gucci or Hermes. Vintage couture is alive and well and vintage couture dealers are riding out the slow economy in style.

Check out the FULL STORY...

I hope you love it!

In the world of vintage fashion, there seems to be three camps: the wearers, the collectors, and the scholars. The wearers and the collectors can be the same person - I wear the vintage I collect that is in my size and that is flattering for me. But the scholars are usually in a very well educated world of their own. They study and write about fashion history in such great depth - curating museum collections, publishing articles in scholarly journals. And yes, some even hold PhDs in fashion.

Heather Vaughan is one of these supremely intelligent fashion addicts. Her addiction to revolutionary and historically important designers such as Schiaparelli and Adrian have led her down a path of study where jobs are scarce, but passion for fashion is abundant. Meet fashion historian, curator, and writer, Heather Vaughan.

DebutanteClothing: Being a scholar of fashion isn't an obvious career path. What led you here?

Heather Vaughan: My beginnings as a historian of fashion began with an interest in theatrical costuming and script analysis as an undergraduate. I had a passion for the 'why' of the costume and how it reflected character. It was the basis of my interest in the socio-cultural forces behind clothing and dress. Linked with that was my interest in history and how history has changed the socio-cultural forces that affect fashion choices of the individual. I came to examine why it was that I loved 'vintage' clothing so much and found that really, it was about these 'things' being objects of and from the past: made, purchased and worn by specific people at a specific time. The object as evidence of history was the theoretical framework that drew me in and kept me interested. In particular my love of writing about this subject is what keeps me wedded to it.

DC: Are there schools or programs of study you would recommend to an aspiring fashion scholar/historian?

HV: I am asked this question frequently, so I'm glad to have it asked here. It really does depend on what you hope to do with the degree after you use it, and where you want to do it. For me, New York University's Visual Culture: Costume Studies program was perfect for me. It was heavy in history, art, and museum studies. There are many other programs that focus on other elements: fashion industry trending, textile history, theatrical costuming, etc. I will say however, that some of the best programs (both PhD and M.A.) seem to be in the United Kingdom: the Courtauld, and the Royal College of Art to name just a few. Others in the US include F.I.T., Bard, Oregon State University, Kent State, and the University of Minnesota.

I do want to caution others considering this as a career path: this is not a growing field. Jobs are few and far between, so if you are considering one of these programs I would strongly recommend talking to a graduate of the given program to find out what their experience was, and what their job prospects have been. Above all, do your homework. Read Anne Hollander, Aileen Ribeiro, Valerie Steele, Lou Taylor, Christopher Breward, JoAnn Eicher, Roland Barthes (the Fashion System), and Fred Davis to figure out where your interests lie. Or better yet - read what's been written by the professors at a given school to see what their slant is. It can go a long way to getting you to the best place.

DC: How does a writer and historian differ from other fashion journalism roles?

HV: That's a good question. For me it's very clear - I don't write freelance articles for newspapers or magazines. I write long in-depth papers for academic journals and conferences. I also really avoid 'current trends' as much as possible-something that is often the focus of fashion journalists. I'm a firm believer that you can't really see a trend clearly until it IS history. Journalists write for the sake of disseminating the most current, up-to-date state of the fashion world. They write what I think of as 'fast fashion' - what's happening now, tomorrow, in the future. I like to think I write 'slow fashion' - contemplative academic pieces that may take a while and lots of thinking and research to put together. That's not to say fashion journalists don't do research or think - they just have less time to do it in.

DC: What is a typical day in a fashion historian's day look like?

HV: Ha - well, I am not a typical fashion historian, so for me it's a nine to five job in an unrelated field, with most of my 'fashion historian' hat time in the evenings. Computer research is ever-more a part of my day. A good number of academic databases (historic newspaper articles and photographs are more and more available online). There is the odd day with a trip to a library or museum to do additional research. Recently, I made a trip out to the Library of Congress for a week to do research for a book project. There are occasional trips to conferences to present papers as well. More typically, an historian associated with a specific museum will involve cataloging, care of collections, research, preparing for exhibitions and other similar tasks.

DC: What is the best part of your career? The worst?

HV: The best part is the objects. Far and away, if I get to examine and explore a the seams, construction and design of an actual piece I am a very happy camper. Being an independent makes those opportunities rare but incredibly valuable. The worst is not having enough time in the day to do all the research that I want to. If I could spend all day, every day doing historical or object research I would be extremely happy.

DC: When it comes to research and study, which are your favorite fashion icons?

HV: It's hard to reconcile those two ideas - because to me, the most interesting research and study is done on the people who are not icons of fashion design (necessarily). I like to know and understand designers who may not have been given the amount of recognition that perhaps they should have. I like to shed light on portions of history that have not yet been studied. For example, I recently began some research on a little studied San Francisco based designer who worked between 1880 and 1918. She was very well known to the inner circle of San Francisco's high society of that era, but no one today would call her an icon.

That said, my favorite designers would have to be Elsa Schiaparelli, Gilbert Adrian, Philip Tracey, Roger Vivier, Andre Perugia and Alexander McQueen. (I like designers who bring a strong artistic sense to their designs).

DC: A common complaint on reality fashion shows is that aspiring designers do not know their fashion history. How important is it for current designers to know fashion history?

HV: Given the popularity of Marc Jacobs, who borrows constantly from fashion history, I would suggest that it is in their own best interests to know their fashion history. It's like sampling from a song that you don't know all the words to: you could be missing something big, or saying something you don't intend to. Learning from those who came before you is hugely important in any field, and those who want to get ahead should learn from histories mistakes.

Knowing art history is also hugely helpful for designers, and museums are a wonderful source of inspiration for any kind of design work. As an aside, I believe that Zac Posen interned at the Met's Costume Institute to get a better handle on fashion history. Knowing how Vionnet and Madame Gres mastered the bias cut, and how YSL transitioned from the strict Dior hourglass silhouette to the more 'relaxed' trapeze line is important for any young new designer to learn.

DC: Which current designers do you feel will be worthy of study in the future?

HV: I've already mentioned Alexander McQueen, but I also think Galliano, Gaultier, Karl Lagerfeld, Philip Lim as well as Isabel and Rueben Toledo . Many of these designers already have a long and distinguished history in the fashion world, so its hard for me to think of them as not already having been studied.

DC: Every decade has a look that epitomizes the era. What do you feel will be the "look" of the 2000s?

HV: Unfortunately, all that comes to mind are things I have disliked about the 2000s: leggings; Uggs; high-waisted jeans; and oversize aviator sunglasses.

DC: You are a regular contributor to Wornthrough.com, a blog about fashion history. What other plans are on your horizon?

HV: Beginning in October, I will be focusing fairly intently on the research and writing for a book project combining the study of both fashion and costume design in the 1920s and 1930s in Hollywood and New York. I'll also be continuing my work for Worn Through and the Costume Society of America's Western Region.

Check out Heather's writing at wornthrough.com and find out what she's working on at her website FashionHistorian.net

When it comes to vintage couture, Katy Kane has earned her fashion stripes. Katy Kane has been in the business of desirable and collectible vintage couture for 25 years. Her website, KatyKane.com, is an archival fantasy of stunning vintage fashion.  She has worked with auction houses and museums and has sold some of the finest fashion of the 20th century. Step into the mind, and the archives, of one of vintage fashion's premiere dealers. Meet Katy Kane!

Debutante Clothing: You've been in the vintage and antique clothing business for many years. How did you get started?

Katy Kane: I grew up going to auctions with my Mother, so I guess that becoming an antiques dealer was inevitable. Thirty years ago very few people were interested in antique clothing, so I picked up gorgeous pieces for a few dollars each. Pretty soon I had more than I could wear so I opened a small shop, then a bigger shop, then an even bigger shop. I had a retail store for over 20 years.

DC: How has the vintage fashion marketplace changed from when you first started?

KK: When I first stared the clothes really were antique clothes, 1820's dresses, gorgeous Victorian ball gowns, Edwardian tea gowns, Irish and Battenburg lace pieces, fabulous French flapper dresses, 1930's bias cut lame dresses and the occasional 1940's suit or dress. Couture meant Worth, Doucet, Callot Souers, Poiret, 1920's Chanel, Fortuny, Babani and Gallenga.

DC: Have you always specialized in designer and couture fashion?

KK: No, I sold Victorian and Edwardian dresses, many were worn for weddings in the 1980's and 90's, country calico dresses, were very popular, Victorian petticoats were worn as skirts, 1920's afternoon dresses and drop dead gorgeous 1920's beaded dresses were also popular.

DC: What do you personally collect?

KK: I collect paper dresses from the late 1960's. If anyone has the Rocket ship dress please call me! I cycle some vintage pieces through my closet from time to time, but I really am a dealer not a collector of vintage clothing. I only have 1 piece that I will not sell.

DC: You now have a relationship with the luxury antique site 1stdibs.com. How did that come about?

KK: I was invited to join 1stdibs.com last winter, I do antiques shows all across the country and I am the only clothing dealer at these shows, so that is how they knew me and my reputation for Vintage & Couture clothing of the highest quality. The vintage section debuted July1.

DC: You sell most of your collection at trunk and vintage/antique shows as well as your site, KatyKane.com. What is the biggest difference, as a vintage dealer, between selling in person and online?

KK: There is really no comparison between the experience of selling in person versus selling online. Interacting with the customer face to face, seeing their style of dress, their coloring and size are huge advantages that make the experience more successful for the buyer as well as the seller. Once they are in the dressing room { I always have a dressing room in my booth} you can get a sense of what will really work for them, what will really bring out their individuality.

On the other hand online selling is so convenient for the buyer and the seller. You are always open, the stock is constantly changing, the overhead and labor are much less than at a show.

DC: How has this economy affected the vintage fashion market?

KK: The vintage clothing market has slowed down just like all areas of our economy. As sellers of vintage we do have the opportunity of providing the customer a superior product with great value, more bang for their buck, so to speak. Vintage & couture clothing quality and construction is far superior to most contemporary garments. The buyer has something totally unique, and it is the most chic form of recycling.

DC: What seems to be the hottest sellers for you?

KK: Anything unusual and out of the ordinary is the best seller for me, whether it is a rare couture piece or a funky handbag, a great 1950's party dresses, a bias cut lame evening gown, a beautifully hand embroidered shawl, an Op Art piece from the 1960's or an over the top cocktail dress from the 1980's. The items that sell the best for me are the truly unique pieces.

DC: You've worked with several museums and auction houses. In what capacity do your work for them?

KK: I have worked with several auction houses that do not have full time vintage and couture departments. I have cataloged auctions and served as a consultant.

DC: When it comes to investing in vintage fashion, what advice can you give shoppers?

KK: My advice would be to buy the best piece that you can afford, quality is always better than quantity. I tell my customers not to buy a piece if they are not sure, because they won't wear it and then they won't come back to me as a customer.

DC: What is on the horizon for Katy Kane and KatyKane.com?

KK: Katy Kane hopes an amazing collection of beautiful clothes is on the horizon, followed by a group of lovely women who must own this collection. katykane.com is working on an Archive section for the site and will finally be adding a long overdue links section as well. Please email if you would like to link to my site!

There is no doubt that our First Lady has brought style back to the White House. On inauguration day, all eyes were watching for what Michelle Obama would be wearing, oh and the inauguration of the President too of course. One woman was behind the dazzling brooch that set off the ensemble Isabel Toledo had created. That woman was none other than the dame of bijoux - Carole Tanenbaum.

Carole Tanenbaum has been in the vintage costume jewelry business for 25 years. Her online store, Carole Tanenbaum Vintage Collection, has been a mecca for high end, collectible vintage costume jewelry. She has accessorized everyone from Natalie Portman to Sarah Jessica Parker to First Lady Michelle Obama. Carole was gracious enough to answer a few burning questions I had.

People who have a passion for fashion always explain their infatuation by stating that fashion is art - another form of expression. Carole Tanenbaum proves this statement true. There is no doubt that her former life in art collecting and dealing was training for the small pieces of art she has so lovingly and passionately collected.

Meet Carole Tanenbaum...

DC: How did you know you wanted your life's work to be in costume jewelry?

CT: Sometimes experiences in life dictate where you go and what you do. I have always been a collector - of art, vintage quilts, etc. My primary business was fine art consulting. It was when, on a trip to London, about 28 yrs ago, that I stumbled on a small but very select collection of Vintage Costume Jewelry and fell in love. As a collector, I made it my mission to purchase as many pieces as I loved, until a few yrs later, I amassed several thousand jewels. I had no intention of going into this business ,as I was very happy buying and selling art. But I approached Holt Renfrew, Canada to see if they were interested in doing a trunk show (1994). They were smitten, gave me my own dept (!) And that was the beginning of CTVC.

DC: You provide jewelry for so many celebrities, even First Lady Michelle Obama. Are the famous more daring when it comes to jewelry?

CT: Most stars are not daring in their tastes. They gravitate towards pieces that are "safe". There are a few exceptions however. Sarah Jessica Parker is extremely creative, not only with her choices, but with the unconventional way she wears her pieces, her placements. Mrs Obama also makes unusual choices, and mixes vintage with contemporary.

DC: Michelle Obama has become quite the fashion icon. How did you feel being one of the people responsible for dressing First Lady Michelle Obama?

CT: Michelle has been wearing CTVC well before the election. But I was surprised and extremely proud that she chose one of our early, historical brooches for the inauguration, when she could certainly have worn Fred Leighton, Harry Winston, or anyone. It was a unique choice, and one fitting with the times.

DC: You have provided many pieces of jewelry to film and television productions, most recently Grey Gardens with Jessica Lange and Drew Barrymore. What is your process when it comes to suggesting pieces for the screen?

CT: When we are selecting jewelry for film, we work with the stylist (s) in charge. They usually select in segments, as the film progresses. Each visit, they chose for a particular outfit(s) . They either give us very clear descriptions -color, scale, period etc, or they bring in the outfits. They generally over select, bring the pieces to the set and make a selection from there, within a day or two.

DC: When you are acquiring pieces for your collection, what do you gravitate to the most?

CT: When purchasing for my collection, I gravitate toward jewelry that shows imagination, creativity, and that is well made. I am interested in jewelry that is bold, and that makes a statement. High color; large scale, often small production.

DC: Are designer labels important when it comes to collecting costume jewelry?

CT: Designer labels do not affect my choices. My eye gravitates to the unusual. Many times an unsigned piece is more spectacular than a "ho hum" design by one of vintage's icons.

DC: Who are some of your favorite costume jewelry designers?

CT: Some of my favorite Vintage designers are Schreiner, Early colored Haskell, Sandor, Coppolo e Toppo, Schibensky, Vargas,Bakelite, Dior, and early french pieces.

DC: You wrote a fabulous book titled Fabulous Fakes. Any plans for a follow up book?

CT: I was thinking of writing a book on Schreiner, my absolute favorite. We've done the photography,of about 450 masterpieces, but there is little information about the manufacturer. So, the book would lack the educational tool needed to make it more than a table top book. Otherwise nothing planned in the near future, but you never know!

DC: Are there any costume jewelry designers today that you feel will be future collectibles?

CT: There are so many great designers out there today. I have started to collect Larry Vrba, Robert Sorrell, a bit of David Mandel, Iradj Moini, Alan Anderson (ck my blog on him on www.caroletanenbaum.com, Marni, Missoni, Cavali. All these people have unique ideas, a small production and excellent workmanship - 3 things collectors looks for.
I also like many pieces by Alexis Bitar, Monies, Hendler.

DC: Any tips for aspiring vintage costume jewelry collectors?

CT: I would urge new collectors to educate their eye. There are dozens of bks today on Vintage Costume Jewelry. See what interests you. Buy pieces that are in fine, original condition, well made and that speak to your personal aesthetics. Whether it be a designer, a period, a type of jewelry that draws you in, make sure it's authentic. As vintage becomes more and more popular, there are more fakes on the market, so trust whom you are buying from.

DC: If you had to exit the building to save your life and could only grab one item from your collection, what would it be?

CT: I can never answer that question, as we have over 20,000 pieces, all carefully selected by me . So, if I had to take one treasure with me I would probably take my favorite jewel, my husband!