Editorial: The luxury label that created a Vogue dress of the decade may have collapsed, but its frocks will live on in wardrobes and art history
‘The label’s combination of witchy creative flair, celebrity and retail luxury had caught the imagination of a miserable decade.’‘The label’s combination of witchy creative flair, celebrity and retail luxury had caught the imagination of a miserable decade.
When the now Princess of Wales chose to pose in the Falconetti, she would have been well aware of its cultural resonance. That royal picture, by Jamie Coreth, has inserted The Vampire’s Wife into art history just as John Singer Sargent’s society portraits, currently at Tate Britain, did with the Parisian House of Worth. Its founder, Charles Frederick Worth, was in no doubt that fashion was an artform, grandiosely: “I have Delacroix’s sense of colour and I compose.
Both Chanel and Quant had recent retrospectives at the V&A; the history of Biba is currently on display at the. All included outfits cherished for decades as artworks by the women who used to wear them. The Vampire’s Wife is no more, but its dresses will live on in wardrobes, in photographs and be loved again on the vintage market. Their designer was eerily percipient about women’s fantasy lives.
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