US-Firmengründung / Oprichting van US-bedrijven / Company start

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• Comment Link Donnerstag, 20 Oktober 2022 11:50 posted by illiad-prod.lib.iastate.edu

  Dubbed the ‘Travolta', VICTOR EDELSTEIN's midnight-blue velvet gown sealed the reputation of Princess Diana as a style icon. Yet
  its designer downplays his part in creating her image and turned
  his back on fashion, as Richard Dennen discovers
  
  
  
  
  
  
  Princess Diana famously hits the White House floor with
  John Travolta in 1985 
  
  
  Dancing with John Travolta at the White House in a stunning midnight-blue dress was the moment that Princess Diana became a
  global icon. British royalty mixing with Hollywood star power and the American presidential elite sent the world's media into a frenzy.
  
  
  The occasion was a dinner given by President Ronald Reagan and First Lady Nancy on the first evening of the Prince and Princess of Wales's 1985 tour of
  the United States. 
  
  On the marble floor of the White House's grand Entrance Hall, Diana danced
  with the President and actors Clint Eastwood
  and Tom Selleck, but it was the John Travolta moment - and the dress, which was created by British
  designer Victor Edelstein - that made headlines all over the world.
  
  
  
  
  
  
  
  
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  The ‘Travolta' dress, as it became known, was one of Diana's favourites and she wore it a number of times, on state visits, to film
  premieres and for her last official portrait, by Lord Snowdon, in 1997. 
  
  When Diana sold her collection of gowns at Christie's in New York in 1997 after
  her divorce from Prince Charles, the Travolta
  dress went for £100,000, then the highest price ever paid for a dress at an auction. It
  was sold again in 2013 for £240,000, another record. 
  
  The dress is so famous it even has its own entry on Wikipedia.
  
  
  And now it's on show as part of Diana: Her Fashion Story, the exhibition at Kensington Palace marking the 20th
  anniversary of the Princess's death.
  
  
  
  
  
  
  
  
  Victor gave up designing couture and is now a painter
  
  
  ‘When Diana wore the dress at the White House, the press were very interested,' says
  Victor.
  
  ‘I got ridiculous calls from American fashion journalists asking:
  "Why navy? Why velvet?" And I thought, "Give me a break!" 
  
  It was just a dress that she bought from my collection. People attach so much importance to it,
  but to me it was simply another dress.
  When she sold it, I thought how nice it was of her to make some money for charity, but if she hadn't worn it, I can't imagine it would have made much.'
  
  
  
  When I fitted the ‘Travolta' dress, Diana was so pleased she said, ‘I must show this to my husband' 
  
  As well as designing numerous gowns for Diana, Victor made his mark on the
  fashion world by dressing many of the rich socialites of
  the day. 
  
  ‘Victor was in a league of his own,' remembers Sarajane Hoare, former fashion director
  of Vogue.
  
  ‘He had amazing taste and cut.' Char Pilcher, then fashion editor at
  Tatler, describes Victor as ‘the best of the British stable of couturiers at that time, a true
  talent'.
  
  
  
  
  
  
  Victor Edelstein in his atelier in 1980
  
  
  
  
  
  
  
  
  
  Victor Edelstein painting in Spain in 1997
  
  
  However, in 1993, at the height of his success, Victor gave up designing couture and is now a painter.
  
  
  He lives quietly with his wife Annamaria Succi in rural Oxfordshire,
  which is where we meet to talk about his fashion days. Now aged 71, he still dresses impeccably - today in a smart brown suit
  - and is surprisingly tall at 6ft 4in with a voice that rustles like
  taffeta.
  
  Victor grew up in Hendon, Northwest London, in a Russian Jewish family involved in the rag trade.
  
  His father and grandfather made and sold clothes from Great Portland
  Street, then the centre of the industry, but Victor didn't associate
  his love of high fashion with his family's business. 
  
  
  
  
  
  ‘I thought that being a designer meant working in gilded salons and throwing bolts of wonderful material around six-foot tall models.
  
  
  Real life isn't quite like that,' he says. He worked for a number of fashion companies,
  but ‘I got the sack from virtually everywhere I worked.
  I was too dreamy and hated it.'
  
  But by the late 60s, after a stint in Paris, Victor was assisting the
  designer Barbara Hulanicki in the pattern room at Biba,
  the label of the moment.
  For 21-year-old Victor it was a revelation: ‘It was the
  most enjoyable job I ever had. I was working for a brand the whole
  world was looking to and for a designer I really admired.'
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  Left: Diana wearing an off-the-shoulder silk jacket for the ballet, 1988.
  
  
  Right: in Brisbane wearing a Victor Edelstein pink
  gown in 1983 
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  After Biba, Victor took a small room in Kensington and started making clothes for private clients.
  
  
  He went on to design for Christian Dior London and then, in 1978, he opened his own high-end ready-to-wear company, but swiftly went
  bankrupt. 
  
  Undeterred, three years later he opened his own couture house.
  ‘It was better for me to be designing couture.
  Ready-to-wear was too tricky. You need a certain volume
  to make it work and it's very difficult to achieve that with expensive clothes unless you have a huge operation behind you.'
  
  
  
  After our first meeting I was walking almost on air.
  
  Diana had that effect 
  
  Meanwhile, Anna Harvey, then the deputy editor at Vogue,
  was advising the Princess of Wales on her wardrobe and suggested
  Victor. ‘There was a dearth of this sort of fashion house in London at the
  time,' she says.
  ‘Victor's collection was young, beautiful and much of
  it was perfect for the Princess.'
  
  Diana, pregnant with Prince William at the time,
  asked for a maternity evening dress. ‘I was given the measurements,' says Victor, ‘but they were elephantine.
  
  
  I thought, "She can't be this size, even pregnant." But I wasn't able to meet or measure her, so the dress in pink organza was unwearable,
  of course.' 
  
  After Prince William was born, Victor went to see Diana at Kensington Palace and fitted the dress properly, re-modelling it to her slim post-baby figure.
  
  ‘She was so beautiful and sweet, and she seemed so vulnerable.
  I walked down the stairs afterwards and I was almost on air.
  She had that effect,' he says.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  From left: Princess Diana in a midnight-blue crepe, 1993, and wearing fuchsia pink for a dinner in 1990
  
  
  The most successful dresses Diana wore by Victor were from his collections, sometimes slightly altered, rather than designed
  especially for her.
  
  Standout pieces include a black silk off-the-shoulder
  jacket, which she wore to the ballet in Berlin; a midnight-blue silk crepe halter-neck evening dress she chose for a
  party at the Serpentine in London, and a fuchsia pink gown worn for a dinner at Mansion House in the City.
  
  
  ‘When I did design things for her I never felt I did them quite as well,
  ' Victor recalls.
  ‘It's odd that when you design especially for someone -
  and I've seen other designers do the same thing - you try too hard and end
  up doing something that isn't typical of you and isn't that good.'
  
  
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