Bettina Ballard's Busy Day

New York Fashion Week has ended and now the editors are on their way to London if they are not there already.  After that, they will cover fashion week in Milan and finally Paris. In March 1951, Life magazine featured an article about  Vogue fashion editor Bettina Ballard entitled Bettina's Busy Day that followed the editor around Paris during fashion week in February 1951.  What amazed me is that except for a few details and midnight photo sessions, the life of an editor hasn't changed much in 60 years. 

In the above photo, Bettina Ballard arrived at Balenciaga at 9:15am to select clothes while wearing a Balenciaga suit.  In the car are the coats and hats of the other fashion houses she will visit that day.

At 10:15am, she arrived for the Schiaparelli opening and wore a Schiaparelli coat over her Balenciaga suit.  She also greeted Bergdorf Goodman buyer Jessica Daube before finding her seat.

At Schiaparelli, Vogue editor Bettina Ballard sat next to Carmel Snow, the editor in chief of rival magazine Harper's Bazaar.  That definitely doesn't happen today!

After another change of clothes, she attended the Dior show wearing a black Dior suit.  She sat next to Michel de Brunhoff the editor of French Vogue.  There is also an ashtry next to the runway since everyone in those days smoked especially in Paris.

Bettina Ballard dined at the home of designer Jacques Fath with among others that included Duchesse de Brissac and Countess de Rosenberg.

Bettina in a belted hotel robe holds a morning conference in her room at 8:00am with photographer John Rawlings and Vogue assistants Babs Simpson and Mary Haas.

Designer clothing can be borrowed and sent around the world for photo shoots today but in 1951, night studio sessions were the only way clothes could be obtained from the fashion houses who also needed them to show buyers. At midnight, Bettina and photographer John Rawlings direct models at a shoot.

A photo taken in Paris.

In the studio at night, Bettina poses models in pale pleated shantung Fath dresses.  The photo was rushed into the March 1 issue of Vogue.

At 2:00am while most of today's editors might be at a party, Bettina checks photos taken during the day and eats a late dinner.  She will decide what to send to Vogue editor Jessica Daves in New York and then will finally go to bed. In 1960, Bettina Ballard published a memoire In My Fashion whichfurther chronicles her life in fashion.  It's one of the only vintage books I don't own but I can't wait to read it!  Bon Weekend!

Balenciaga: Spanish Master

Everyone is always asking for suggestions on what to do in New York.  If you will be visiting over the holidays, I highly recommend making time for the Balenciaga: Spanish Master exhibition at the Queen Sofia Spanish Institute that runs through February 19, 2011.  I didn't know much about Balenciaga before this show and it was an amazing introduction to this legendary designer.  Vogue editor Hamish Bowles has curated the exhibition and many of the pieces on display come from his own archive. 

Cristóbal Balenciaga was born in Spain 1895 and learned to sew from his seamstress mother.  He apprenticed at a tailor at the age of 12 and was later sent to Madrid to continue his training.  He opened his own boutiques in Spain but the Spanish Civil War forced him to flee to Paris.  He opened his own couture house in 1937 but never lost sight of his Spanish influences. 

Diana Vreeland said, Balenciaga's "inspiration came from the bullrings, the flamenco dancers, the loose blouses the fishermen wear, the cool of the cloisters." The exhibition is full of influences such as Spanish artists, Zurbarán, Goya, Picasso, Sorolla, and Miró; and of "Spain's religious dress and ceremony, its royal history, its rich regional costume, its dance traditions, and the power and splendor of the bullfight."

Balenciaga's "Infanta" dress from 1939 was inspired by the Diego Velázquez painting Las Meninas below.

 DiegoVelazquez, Las Meninas, 1656-57

This black evening ensemble with "chou" wrap from 1967 was inspired by the Francisco de Goya painting La Duquesa de Alba below. "Goya, whether Balenciaga is aware of it or not, is always looking over his shoulder," said Vogue editor Bettina Ballard.  "He believes in lace and ribbon bows - never used in a fussy way but rather with true Spanish dignity."

Francisco de Goya, La Duquesa de Alba, 1797

This black polka dot evening dress from 1964 was inspired by the costumes of Flamenco dancers.

The same polka dot dress as seen in the exhibition.

The carnation is the national flower of Spain and is also the flower thrown at the feet of the bull fighters.  It is a recognizable symbol of the bull ring and is a reoccurring motif in the work of Balenciaga. 

The inspiration of carnations as well as Balenciaga continue in this dress from the spring collection of Oscar de la Renta.   "The exhibition was conceived by Oscar de la Renta, Chairman of the Institute's Board of Directors, who has worked closely with the exhibition team to develop and realize the show. Mr. de la Renta himself began his career in fashion working in Madrid at Eisa, one of the Spanish branches of Balenciaga's fashion empire."

Balenciaga evening dress and stole from 1952

Another flamenco inspired Balenciaga dress from 1951.

Some of Balenciaga's more abstract dresses were inspired by the work of Juon Miró.  Balenciaga closed his fashion house in 1968 at the age of 74 to travel and explore Spain.  He died in 1974.  After his death, Diana Vreeland said, "Balenciaga did the most delicious evening clothes. Clothes aren't delicious any more."