This snippet is from her piece on the legendary Grace Kelly in Vanity Fair, the May issue. I for one am praying for a fashion revival of those classic styles, but in the meantime, Laura’s descriptions of the shapes and colors of Kelly’s wardrobe make me want to get into the garden and plant anything that will come up “angel-skin coral”.
“The Swan was a costume drama and hews to an Empire line. But in To Catch a Thief and High Society,references abound to both classical draping and classical dance, an art form full of mythological creatures. Grace’s gowns are columnar, with waterfall pleats and cascades of fluting, sheer trains flowing from the back (where wings would be, if she had them), and sheer scarves like soft breezes around her neck. All this pleating and fluting and floating was in tune with the Hellenistic sculpting of 50s couturiers such as Madame Grès and the Greek designer Jean Dessès. Grace’s day dresses have fitted bodices and skirts blossoming from the waist—a very clever fusion of the ballerina’s tutu with the American shirtwaist, and a shape that allowed her to move freely (as she did in the sensational flowered shirtwaist of Rear Window, in which she climbed a fire escape). As for color, Grace was given her own, Apollonian palette. Wheat-field and buttercup yellows, azure and cerulean blues, seashell pink and angel-skin coral, Sun King gold and Olympus white—no one wore white like Grace Kelly. To those with a feeling for history, beauty, and style, Grace Kelly’s late-career wardrobe—the huntress Artemis during the day and Aphrodite at night—is unforgettable if not positively Delphic.”