RECENTLY I was sent back to the Dark Ages for several days and have only just returned to modern times. A powerful storm came blowing through our area last week, taking away our electricity, our hot water and finally our dignity. I learned a few important lessons:
1. Reading by candlelight is a drag. 2. Cooking by candlelight is even worse. 3. Cold showers suck. 4. A widespread power outage is the best way to get chummy with your neighbors. 5. Three days with no TV and no Internet is good for the soul. 6. Lack of electricity causes an increase in candy consumption and a decrease in personal hygiene. 7. We might need to get a generator.
The last item on that list is fraught with indecision. On the one hand, if we had a back-up generator we could continue living our normal lives despite the harsh winds blowing down all the trees that land on the power lines in the area, exiling us to Siberia. We could stay current on the latest political claptrap, like Hawaii’s congresswoman and presidential hopeful Tulsi Gabbard is a Russian spy. On the other hand, we would lose all connection to our ancestors who toiled in the darkness for hundreds of years, cooking potato soup in big pots over a wood fire and having their teeth pulled without benefit of anesthesia.
It’s a tough choice. But the clearest benefit of remaining at the whim of the weather gods is the feeling you get when the power suddenly jolts back without warning, making the simple act of grinding coffee for a fresh pot a kind of joy rarely experienced outside of childbirth.
IF WE WERE assigning grades to fabrics, cashmere would likely earn an A—at least from David DaPonte, USA Representative for the Cashmere and Camel Hair Manufacturers Institute (CCMI). He says, “It’s a great, durable fiber. It can absorb and release moisture, keeping you warm (up to eight times warmer than wool) in the winter and cool and comfortable on a spring night.”
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I have accumulated a cache of cashmere sweaters—from Banana Republic, Brooks Brothers, Theory and Jil Sander—in a range of prices. But how is it possible to get a 100 percent cashmere sweater for $90, $300 or $2,000? The cashmere all comes from the same source —goats. And even the splurgiest sweaters can pill!
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What Matters
Most of the world’s cashmere comes from goats in Mongolia, where the frigid climate produces the longest and finest hair. Traditionally, the hair is hand-combed once a year in the spring and then the hairs are sorted into grades and washed. Considering that to make one sweater it takes about three goats, the raw material is on the precious side.
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What separates cashmere from wool is the fineness of the fiber, says DaPonte. Raw cashmere hair is measured in fiber diameter or microns (one micron is a thousandth of an inch). Grade A cashmere is in the 14 to 15 micron range; Grade B, 16 to 19. Merino wool is in the 19-20 range. Human hair? 100 microns.
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The cost of raw materials matters but so does where the fiber is spun, knitted and made into a sweater or other garment. Mills and factories in Italy and Scotland are well known for their expertise in manufacturing cashmere products. They’ve been at it hundreds of years, compared to China’s 35-plus years. On the Pringle of Scotland website: “The unique Pringle of Scotland cashmere feel has been developed over many decades. We require specific degrees of twist and percentage of oil in our yarns and we specify the exact tension that we want our cashmere knitted to. ”
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Also to consider, says DaPonte, are that you’re paying more for design, a brand name, quality stitching, buttons and zippers and how much an employee is paid. You can bet an Italian employee is better paid than an Asian. But for a label like Uniqlo, economies of scale factor into the price. Uniqlo has much more volume than say a Loro Piana (see below). You’ll pay accordingly.
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What to Look For
It would be great if labels listed the cashmere ply and grade on the label. That’s not always the case. Forget single-ply. Two- (or three- or four-) ply are sturdier, says DaPonte. (The number of ply indicates how many strands have been twisted together to make the yarn.) In general, you’re looking for a tightly woven knit, which should mean a garment that has staying power. Hold a sweater up width-wise, stretch it out and see if it bounces back into shape. The higher the ply, the more recovery. If it stays bagged out, stay away. Sometimes, says DaPonte, you can tell by the feel—”the handle of a cashmere sweater should be extremely soft.”
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Cashmere Blends/Fakes
You can spend less with a blend. Cashmere with silk, wool or cotton are your best bets. But sometimes these blends can contain varying quantities of the fabric. “Watch out for something that is anything less than 20 percent cashmere, though. You won’t be getting any benefit from the material,” says DaPonte.
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Manufacturers in this country are required to list fiber content, but sometimes sellers label blends 100 percent cashmere that contain wool, rayon and/or acrylics. That’s where CCMI comes in. The organization tests products and notifies manufacturers if their products are incorrectly or fraudulently labeled.
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Recycled Cashmere
In a push for the fashion industry to get on the sustainability bandwagon, there has been a push to re-use and recycle cashmere. Cuyana has recently added this category to it collection, as has White + Warren. But, says DaPonte, “It’s not going to have the inherent softness of virgin cashmere. Cashmere that’s been recycled means a used and worn product has been washed, cleaned, re-spun, refinished and maybe re-dyed. It’s not the same as the original.”
A Note on Pilling (from Pringle of Scotland)
Pilling is a normal process. After wearing, small balls or “pills” will appear on the garment. These are caused by some of the fibers tangling together when areas are rubbed when worn. Remove pills by hand or use a cashmere comb. Once the pilling has been removed, and after a few washes, you will notice the garment becomes softer to handle and touch.
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Below, some examples of cashmere sweaters in a range of prices from seven labels:
LEFT: A 100% cashmere crewneck sweater with a relaxed silhouette from Uniqlo is $79.90. Besides dark purple, shown here, it’s available in 13 other colors. RIGHT: From Brooks Brothers, this pale blue Cashmere Cable Crewneck Sweater, available in 15 other colors, including pale pink, peach and light green, is $398. It’s manufactured in Italy. Brooks Brothers also has factories in Scotland where the yarn is spun and knitted.
A simple blush Cashmere Sweater, such as this one from Loro Piana, sells for $2,150. A brand like Loro Piana uses Italian mills that have been manufacturing cashmere products for hundreds of years. According to Pier Luigi Loro Piana, deputy chairman of the Loro Piana textile and luxury goods company, “The levels of quality depend on several things: The origin of the cashmere, the micron difference (the size of the individual hairs), the technology we apply in finishing the fabric. And part of it is quantity: We make in small series—100 sweaters, not 1 million. Our sweater may weigh 300 grams, not 200 grams. And of course cashmere sweaters made in China have a lower labor cost. All of our things are made in Italy. At every stage of the operation, we are driven not by cost-saving but by quality.”
LEFT: Pringle of Scotland’s Cashmere Jumper in Cream ($1,171) with high neck, voluminous sleeves and fitted waistline looks heavy but feels light, “suited to the movements of modern life.” RIGHT: The founder of cashmere label Naadam was inspired to transform the cashmere supply chain by purchasing it directly from remote herders for fair prices. Nadaam also touts its sustainable grazing practices. This 100% Mongolian Cashmere Ribbed Turtleneck ($175) is lightweight enough for layering.
LEFT: Everlane’s Cashmere Turtleneck (available in four other colors, $130) is 100% Grade-A cashmere from Mongolia and is knitted at a factory vetted for ethical labor practices in Dongguan, China. RIGHT: “Less is more” brand Cuyana recently introduced recycled cashmere into their collection. This Recycled Cashmere Crewneck Sweater($255) manufactured with the company’s partner mill in Bologna, Italy, is a blend of 95% recycled cashmere and 5% virgin wool.
—Janet Kelly
MyLittleBird often includes links to products we write about. Our editorial choices are made independently; nonetheless, a purchase made through such a link can sometimes result in MyLittleBird receiving a commission on the sale, whether through a retailer, an online store or Amazon.com.
EARLIER THIS week our cat Lurch disappeared. Well, not in the magical sense, but he was gone from our view for two days and two nights, behavior very uncommon for an animal that likes to come in for a snack about every half hour and never misses dinner or breakfast. So for him to be gone overnight, for two nights, was a clear warning bell that something was very wrong.
Since Lurch is one of a handful of beings I truly love, this was a huge upset in my world. I had to act, and act fast lest I become a sobbing mess, unable to eat or sleep or think about anything else. I remembered when a dear friend had this same thing happen to her years ago, and she called a pet psychic who successfully led her to the lost cat, huddled under a woodpile in the snow in a backyard just a few doors from her own home. I decided to give it a try, despite the derision of several people I respect who thought it was a nuts idea.The Pet Psychic (PP) I called lives in Washington state, about as far as you can get from me and my missing kitty here in Maine. She and I spoke for about half an hour. She asked a few necessary questions, explaining that the information would aid in her contacting Lurch. I sent her a recent photo of him, showing his eyes quite clearly. Oh yeah, I also gave her my credit card so she could collect her fee of $125. Then I waited for about two hours for her to call me back.PP’s call was full of news, both good and bad. “Sometimes I have to tell people that their pet has crossed over to the other side. This is not the case with your cat.” First she said that Lurch was alive, and located. Phew! I was relieved. Then she said he was hiding out in a small space, “about one or two properties away, under a deck or shed,” after an “altercation or fight with one, or maybe two raccoons.” She said Lurch told her he could hear my voice calling him, but did not say whether or not he had been hurt in the fight. He would not return until he felt it was safe to do so. This could take as long as a week or even two. PP added that cats can go that long without food or water by slowing down their metabolisms. (Who knew?) Next came my part. PP explained that raccoons urinate on the ground as they walk, marking the territory, and that Lurch would smell their urine and think they were still outside his hiding place. So to counteract that, she strongly advised that I fill a spray bottle with my own urine and go out and spray it about every 30 feet around the neighborhood and near places he might be hiding. Lurch would recognize mine as the “alpha” urine, a sure sign that I was protecting him. I was to do this every day until he returned.
PP urged me not to tell any passers-by I was spraying urine on the ground as this would be upsetting, and instead to say it was “cat pheromones.” (God knows where they sell those.) Also, I wasn’t supposed to say I had spoken to a pet psychic as people would think I was batty. (At this point I was thinking that PP was the batty one.)
Anyway, I did what she said right away. That was the first day. The second day brought a rainstorm, complete with thunder and lightning, of biblical proportions. Still I walked the neighborhood, checking under every shed and porch and deck within a few properties of ours. No sign of Lurch.
Later on the weather brightened and my son, Lurch’s first and true owner, came to aid in the search, although he drew the line at peeing on the ground which I thought would save us both a few steps. Together Zack and I walked and called out, shaking the treat can as PP had instructed, to no avail. I started to think the cat was a goner. After Zack left I resumed my sobbing, yelling at God that Lurch was too young to die and I was not ready to let him go.
Around dinnertime Lurch showed up at the back door without a scratch on him. I’d say that was money well-spent, much smarter than my campaign donations to Tulsi Gabbard and Marianne Williamson.
Wearing this gray silk net and crepe de chine dress by Muriel King, Hepburn played an aspiring actress in “Stage Door” (1937). What a waistline! She shared the screen with Ginger Rogers and Lucille Ball. /Photo courtesy of Frick Pittsburgh.
Left: This striking evening gown accentuated Hepburn’s lithe build, her long legs and small waist. Walter Plunkett (1902–1892), costume for Hepburn as
“Amanda Bonner” in Adam’s Rib, 1949, MGM, KSUM 2010.12.4. Gift of the Estate of Katharine Hepburn. Right: Kate looked great in this red silk coat over a pleated white dress. Valentina Schlee (1899–1989), designer. Costume for “Tracy Lord” in The Philadelphia Story, stage production, 1939. KSUM 2010.12.56-.57ab. Gift of the Estate of Katharine Hepburn.
Kent State University Museum received more than 30 pairs of pants from Hepburn’s personal wardrobe, most in shades of beige and brown. The above pairs from the exhibit were custom made either in theater shops or department stores like Saks Fifth Avenue. The worn patches attests to the fact that she wore them frequently. Note the jodhpurs (far left). She played many physically active characters. / Photo courtesy of the Frick Pittsburgh.
A modern green jumpsuit in raw silk designed by Valentina for Hepburn’s Tracy Lord in the 1939 stage production of “The Philadelphia Story.” In the background, photo stills from the play./ Photo courtesy of the Frick Pittsburgh.
Although Cecil Beaton (who designed the white silk shantung jacket at right) was the official costume designer for “Coco,” Hepburn didn’t think he could capture Chanel’s elegance. So she went out and bought complete couture ensembles, like the black, sleeveless dress and coat (right) with her own money. / Photo courtesy of the Frick Pittsburgh.
These beige-and-black ensembles were worn for publicity shots for “Guess Who’s Coming to Dinner” (1967) for which Hepburn won an Oscar. Both are examples of what Hepburn wore as a matter of personal taste as well as public image. / Photo courtesy of the Frick Pittsburgh.
Left: See preceding photo. Right: Casual jacket, turtleneck and pants with an elastic waist band similar to the one Hepburn as Ethel Thayer wore in “On Golden Pond” (1981). She won her fourth Academy Award for that film when she was 74. She was supposed to have a stunt double perform her diving scene. She insisted she do the dive herself –without a wet suit — into the frigid water. /Photo courtesy of the Frick Pittsburgh.
WHETHER YOU dress in head-to-toe black, prefer printed dresses, swishy skirts or slouchy suits, the clothing you choose to wear sends a message about you. In some cases it tells stories, as it does in a new exhibit chronicling Oscar-winning actor Katharine Hepburn’s career through her wardrobe.
“Katharine Hepburn: Dressed for Stage and Screen,” which runs until January 12, 2020, at The Frick Pittsburgh, comes courtesy of the Kent State University Museum, which received her personal collection of film, stage and TV costumes in 2008. The show looks at the clothes that helped create many memorable characters, along with the role of fashion in crafting the image of one of the greatest female actors of the twentieth century.
Spanning over five decades of Hepburn’s career, starting in the 1930s, the exhibit features 37 costumes from the stage productions of “The Philadelphia Story” (1939) and “Coco” (1969), films “Adam’s Rib” (1949) and “Long Day’s Journey Into Night” (1965) and TV movies, such as “Love Among the Ruins” (1975). Hepburn’s signature tailored beige trousers and linen jackets are also on display, along with personal items like her makeup kit (including Chanel lipsticks and pairs of false eyelashes), photo collages, vintage posters and film stills.
“A star practically always asks for a designer if she has any sense,” said Katharine Hepburn when asked if she had a say in the designers with whom she worked. More than a dozen costume designers are represented in the exhibit, including Edith Head, Walter Plunkett and Valentina Schlee. As Edith Head said, “One does not design for Miss Hepburn, one designs with her. She’s a real professional and she has very definite feelings about what things are right for her, whether it has to do with costumes, scripts or her entire lifestyle.” Plunkett, whose most famous project was “Gone With the Wind,” created an off-the-shoulder black silk evening gown and long train that Hepburn as Amanda Bonner in “Adam’s Rib” wore for a dinner party in the film. Schlee, known just as Valentina, was one of Hepburn’s favorites. The raw silk jumpsuit she designed for the actor’s strong-willed Tracy Lord in “The Philadelphia Story” would fit right in among contemporary fashions. Hepburn’s personal taste is apparent in all the costumes she kept in her personal collection, where the emphasis is on fluidity, beautiful fabric and quality workmanship.
Transcending the actual items in the exhibit is the constant awareness of Hepburn’s independence, energy and wit—at least partly attributable to growing up with progressive parents. Says Sarah Hall, the Frick Pittsburgh’s chief curator and director of collections, “She was marching for women’s rights with her mother (president of the Connecticut Woman Suffrage Association) from the time she was 8 years old.” Her father, a surgeon, was an athlete and advocate of social rights.
Think the practice of mixing high- and low-end clothing is something new? Uh-uh. A publicity still of Hepburn wearing a mink coat and jeans, taken in 1932 on the RKO lot, captures her distinctive look. Wearing trousers at the time, let alone blue jeans, irritated the studio big shots, who preferred their stars to wear skirts and dresses. When they took away her jeans during filming, she walked around the lot in her underpants until she got them back. That casual, relaxed Hepburn style won her a 1985 Lifetime Achievement Award from the Council of Fashion Designers of America. Calvin Klein, who presented the award, said, “She has truly epitomized the ultimate American woman. She’s vibrant, she’s outspoken, she’s hardworking and she’s independent and, fortunately for all of us, she’s never been afraid to be comfortable.”
—Janet Kelly
“Katharine Hepburn: Dressed for Stage & Screen” is on display at the Frick Pittsburgh (7227 Reynolds Street, 412-371-0600) through January 12, 2020.
Museum Hours: 10am to 5pm Tuesday through Thursday and Saturday and Sunday; 10am-9pm, Friday. Closed Monday.
Admission: Members: Free
Adults: $15
Seniors/Students/Military: $13
Youth 6 to 16: $8
Youth 5 and under: Free
AS I SAT down to lunch at a Thai restaurant with a friend the other day, she told me about her son’s recent wedding, adding that the newlyweds had already bought a house together. I said that any minute she might be a grandma. Scanning the menu, she responded with, “If it happens that’s fine, if not, even better. I don’t think it’s fair to bring a child into the world now.” She expanded, citing her concerns over climate change, political turmoil, terrorism and growing violence around the globe which could erupt into nuclear war at any time. “It’s basically over for the human race,” she declared. Then we ordered.
Surely we would all agree that things are bad in just about every area of modern life. War, mass shootings, rioting in the streets, social injustice and melting polar ice caps all suck. But that’s all “out there.” What also sucks is closer to home: The complete and total lack of customer service.
I experienced this most recently when I opened the door to my nearly new $6,000 refrigerator and was met with a loud beeping and a flashing digital sign that spelled out “Over Temp” in angry red letters. That could not be good, I thought, and hastily searched for the booklet our Kitchen Aid appliance had come with. No luck. I called the appliance store where we purchased it and a recording directed me to describe my problem, with a promise that someone would get back to me “soon.”
Not soon enough, as the beeping continued. So I logged on to KitchenAid and found “Troubleshooting.” By entering my credit card information I could text my problem to a “live agent.” An initial fee of five dollars would enroll me in a club that would cost $28 per month after a month’s free trial, but I could cancel at any time. I proceeded.
Pearl, the so-called live agent, turned out to be an idiot. She asked for my problem and I described it in detail. Then she asked for my problem again, and I described it again. Then she asked for my problem again, and I realized she was a robot with a few screws loose. So then I looked around and found something that said I could talk on the phone with a real person, perhaps that would suit me better. I said yes! Oh, but that would cost another $25 on top of the initial five dollars. WTF?
I decided to cancel my membership immediately and write off the five dollars to my being stupid. But first I had to figure out how. The “Cancel my subscription” button was hidden deep within the website. I finally found it and clicked it, which triggered a series of messages begging me to stay, promising they would solve my problem, and then audaciously asking me what they could do to convince me not to leave. “Cancel at any time” my eye!
Next I got an email from the company manager asking me to reconsider my cancellation. Enraged, I responded with a string of curse words in all caps. Fortunately my husband came home before I could fire up my AK-47 and hunt the man down. Mitch started punching random buttons on the fridge and eventually the beeping and flashing stopped. (He is a mechanical genius.) Anyway, that’s what I call bad customer service. Not as bad as a war, agreed, but still a major pain in the ass.
THIRTY YEARS ago (maybe more) I was shopping in Milan with my then-boyfriend, now-husband and our always-chic Milanese pal Paola Uccelli. The latter insisted we would have to go to her favorite store, M. Bardelli on Corso Magenta. And that’s where I found it—a stunning crimson cashmere, knee-length sweater dress, the quintessential one-and-done garment. Somewhere between moves from D.C. and Brussels and back it got the Kondo treatment. But what got me thinking about sweater dresses in general was when a friend of mine showed up last week for dinner wearing a charcoal-colored V-neck knit dress with a pair of high boots. For accents, she wore a rope necklace with turquoise pendants. Simple, right? Then I remembered a time when I met another fashion-savvy friend for dinner in New York City around the winter holidays. She also wore a knee-length sweater dress—in black cashmere—with black boots under a vintage Burberry trench. Classy, understated, right for so many situations.
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For work, for family dinners, for date night, let’s just say for all but the swankiest occasions. Practical, yes, that’s the word. Pull it on over your head, belt it or not, wear it over tights or slim trousers. Accessorize with your choice of footwear—ankle booties, tough Doc Martens, trendy tall slim boots or sneakers or flats. Finish with dangly earrings or hoops or a stack of bracelets. These dresses are available in a range of price points and lengths. Probably best to avoid the mini versions unless you’re extraordinarily blessed with long, blemish-free gams or are wearing them over leggings.
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See our picks below:
—Janet Kelly
LEFT: I’m not always a fan of Kenzo designs, but this wool-cotton blend All Over Eye Sweater Dress ($575, Shopbop) with its watchful eyes, lacy eyelets and rhinestone and iridescent studs tickles my fancy. It’s on the subtle side of whimsical. CENTER: When you’re angsting over what to wear, slip on Scotch & Soda’s slinky ribbed knit Metallic Midi Dress ($178, Shopbop). Thumbs up for its svelte silhouette, midnight blue color and stripes at the neckline that add a sporty touch. And it looks terrific with sneakers, as shown. RIGHT: For a figure-hugging fit and vintage vibe, this ’70s-inspired ribbed knit Polo Midi Dress ($650, Shopbop), a blend of nylon, silk, cotton and spandex, is a flattering piece we’d be happy to own and wear all year long.
LEFT: Topshop’s ribbed Tie-Waist Long Sleeve Knit Midi Dress ($55, Nordstrom) reminds us of a comfy sweatshirt except that it’s sleek and sophisticated with flirty deep side slits and a waist-defining belt. CENTER: Sometimes girly is a good thing, as in this Brianna Tie Neck Long Sleeve Sweater Dress ($168, Nordstrom) with its extra-fine ribbing at the waist line, drapey sleeves and bow-tie neckline. Also available in dusty pink. RIGHT: This shapely, comfortable-looking Rib Long Sleeve Sweater Dress ($119) comes from Nordstrom’s popular licensed label Something Navy.
LEFT: If you’re in love with midi pleated skirts this season, here’s an idea: Instead of buying a turtleneck, too, invest in one piece—Massimo Dutti’s combination of a turtleneck with a mid-length pleated skirt ($130). Accessorize with jewelry, please. RIGHT: If you love florals, you don’t have to stop wearing them just because it’s getting colder outside. Just change the color palette to rich navy and maroon. Ribbed trim at the waist, hem, sleeves and neckline give Shoshanna’s Floral Knit Midi Dress ($398, Saks Fifth Avenue) the right frame.
LEFT: DVF’s Astrid Wool Cashmere Wrap Dress ($448) could just be the best friend in your closet. We’d spring for this soul-lifting yellow, but if you need it for more sober or more formal situations, it also comes in navy and black. Wear with your favorite style of boot. CENTER: Knit dresses can cling in all the wrong places, which is not the case with Talbot’s cotton-blend, season-spanning, easy-to-wear Heathered Shift Dress (reduced from $109 to $76.30). RIGHT: Red and pink color blocking was a big hit at the Emmys this September. Try it for yourself with Marimekko’s Puhuja Knit Dress ($350, Anthropologie).
LEFT: A minimalist like me would be head over heels for L’Agence’s Koller Sweater Dress ($350, Shopbop). CENTER: Everlane updates the turtleneck dress with a relaxed fit that’s equal parts cozy and chic. The Cashmere Turtleneck Dress is $165. Wear it over leggings or cropped pants. RIGHT: As is the case with Everlane’s dress above, Cos’s Raglan Sleeve Wool-Alpaca Dress ($125, Cos Stores) is more of a long sweater/sweatshirt than a dress. Wear it accordingly.
MyLittleBird often includes links to products we write about. Our editorial choices are made independently; nonetheless, a purchase made through such a link can sometimes result in MyLittleBird receiving a commission on the sale, whether through a retailer, an online store or Amazon.com.
LEFT TO RIGHT: Taraji P. Henson in Vera Wang and Susan Kelechi Watson in Badgley Mischka couture at the Primetime Emmy Awards, September 22, 2019, in Los Angeles. / Photos by Kathy Hutchins, Shutterstock.
I MISSED the Emmys awards a few weeks ago, but eagle-eyed Managing Editor Nancy McKeon noticed that color-blocked gowns were dominating the red carpet. Especially red and pink ones. Mandy Moore and Susan Kelechi Watson of “This Is Us” wore long dresses with feminine, billowy satin sleeves; “Empire star” Taraji Henson charmed in chiffon with a flowing cape; Marisa Tomei’s ruched frock paired shocking pink with red, while Zoe Kazan’s black gown was wrapped up in a huge pink-and-red bow.
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What stars wear at the Emmys in September frequently forecasts the trends we’re likely to see six months from now. So, no surprise that the Spring 2020 collections showed designers mixing blues with crimsons, purples with pinks and tangerines with yellows. But style divas aren’t waiting to show off their color savvy. Impeccably dressed, human rights lawyer Amal Clooney was recently spotted wearing a striped yellow, black and beige trench coat over a purple sweater dress. Famous for her fashion edge, actor Sarah Jessica Parker was at the New York City Ballet gala swathed in a Zac Posen custom fuchsia silk taffeta gown and mismatched (one yellow, one pink) satin slingbacks from her SJP shoe line.
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This color story—where primary hues clash/contrast in a single item—dates back to the 1960s, when Yves Saint Laurent, inspired by the Dutch painter, designed his now-memorable Mondrian dress (see below). So, while it may be nothing new, we see color blocking as a refreshing way to update a wardrobe heading into a season so often filled with black-on-black.
—Janet Kelly
LEFT: Yves Saint Laurent’s famous color-blocked dress, inspired by painter Piet Mondrian. Photo courtesy of the Metropolitan Museum of Art. RIGHT: Blocks of burgundy, pink and rust contrast in The Great’s wool-and-alpaca blend Striped Lodge Cardigan ($325). A layer-friendly option to snuggle up in all season long.
LEFT: We love that Moncler’s Pleated Satin Midi Skirt ($640) with contrasting red and rose hues has a sporty drawstring waistband, ideal for swishing colorfully and comfortably around. RIGHT: Rothy’s shoes get high approval ratings for fit and easy care (they’re washable). Maybe it’s a stretch to call this Triple Stitch Tangerine pointed-toe flat ($145) a color-blocked shoe; nevertheless, we’re charmed by the navy, orange and black-striped block on the heel.
LEFT: A combination of oatmeal and black makes both shades look more appealing on this Mock Neck Color Block Sweater ($99) from & Other Stories. Plus, note the slimming effect around the arms and torso. RIGHT: The same is true for Athleta’s Transit Color Block Turtleneck ($98), which, in addition to teal and black (above), comes in burgundy and black and light gray and charcoal gray. Bonus points for the bum coverage.
LEFT: If you prefer not to wear fur or leather, think Stockholm-based Stand Studio’s Haley Colorblock Faux Shearling Coat ($445, Nordstrom). You’ll look striking in this roomy coat with burgundy faux fur outlining shiny patent faux leather, not to mention how much you’ll be reducing your carbon footprint. RIGHT: Constructed from red, yellow, black and taupe blocks of smooth leather, this Small Drawstring Leather Bag ($620, Moda Operandi, Nordstrom) from Copenhagen’s playful Ganni label pairs a soft silhouette with a tortoise shell-patterned loop top handle.
LEFT: A pop of beigey pink at the cuffs of Madewell’s merino wool, easy-to-wear Colorblock Sweater Dress ($128, Nordstrom) lightens the look, which would make me want to wear it on repeat. RIGHT: Contrasting raglan sleeves and front-patch pockets, plus a collar and back belt in plaid, gives personality to the basic raincoat. Mijeong Park’s Color Block Single Breasted Trench is $320 at Need Supply.
MyLittleBird often includes links to products we write about. Our editorial choices are made independently; nonetheless, a purchase made through such a link can sometimes result in MyLittleBird receiving a commission on the sale, whether through a retailer, an online store or Amazon.com.
THE DEADLIEST DISEASE this century has spawned thus far doesn’t yet have a name, so I’ll give it one: Facebook Personality Disorder (FPD). Future generations will look back at this time period in horror, just as we reflect on past scourges like polio and the various plagues that ruined lives and decimated entire population centers.
I have a mild case of FPD but with constant vigilance I keep it under control. I use Facebook to post my blog, but I rarely engage in the long, angry, tortured streams of chatter that erupt over politics. These have been known to destroy self-esteem, ruin friendships, negatively impact marriages and eliminate basic human traits such as empathy, kindness and compassion. Native intelligence is also all but eliminated once the most virulent strain of FPD gains a foothold.
Early signs of the illness are laughing at or actually posting silly videos—animals and babies are common subjects—and/or adding comments to hateful scribes against a political figure or party. Both my husband and son have severe cases of FPD and I fear it is too late for them. I’ve given up preaching about it and have decided to concentrate on saving myself, and you should too. Remember: If someone comes to you and asks you to “Watch this video” on Facebook, run the other way fast. They are a carrier!
ABOUT A MONTH or so ago I was scrolling mindlessly through websites looking for the handbag of my dreams or just one that would be more fall-appropriate than the white or metallic ones I’ve been carrying all summer. I liked the clutches and totes with their sassy straps and stripes from Clare V; Cuyana’s were serviceable but not exciting; Bottega Veneta’s squishy ones were adorable but waaaay too pricey and not at all practical for the amount of stuff I tend to cart around. After too much time browsing for that perfect bag, I had another thought. I could dig into my closet, or actually my dresser, where I had stashed two well-loved but worn-out-looking, bags. The leather on the large Ghurka cordovan, tattersall-lined shoulder bag I had bought in New York in the late ’80s was splitting at the bottom edge. I knew the company had a policy of repairing its bags because when the shoulder strap came apart five years after I bought it, I took it to a department store that at the time sold the brand. They sent it back to the company and it was returned to me with strap fixed and leather shiny again. No charge.
My Ghurka bag with fading leather and a split at the bottom. / Photo by Janet Kelly.
This time I took a photo of the bag and sent off an e-mail to customer service asking if the area where the leather was splitting could be repaired. The response: they could fix it for an estimated $150, plus a $12 shipping fee from their Norwalk, Connecticut, factory.
Not sure I wanted to save this piece of the past, I decided to test out an option closer to home—with a salmon-colored bag from Italian designer Marni that I purchased 10 years ago (on sale) at Relish in DC. I had had good results when I brought in my beige leather jacket for cleaning at a neighborhood leathergoods store.
I wondered if they could bring the Marni back to life. It needed much more than cleaning—white streaks ran down the front and back of the bag, there was a noticeable ink spot in the middle, the bottom edges were worn through and the handles were coming apart at the seams. The inside was full of marks from the many pens I too casually toss into it.
Marni bag, post-restoration. Glossy leather, matching reinforcements on the corners, sturdy handles, no more ink spot. / Photo by Janet Kelly.
I took the bag into the store and was directed to climb two steep flights of creaky stairs to an attic room where a woman about my age and a young man sat on stools sewing/glueing/restoring various leather items. I held out my handbag and asked the woman whether there was any hope. She didn’t look at me as if I had lost my mind. Rather, she appeared confident she could get it looking much spiffier, at an estimated cost of $140. I decided I’d leave it with her and hope for the best. From my experience with my jacket, I knew that this would take time. It did—five weeks later I called and was told I could pick it up the following week.
So I did, and the Marni was back to its former, good-looking self. The streaks were gone, as was the ink spot. The leather looked shiny again, and the worn corners had been covered with reinforcements of matching leather. What remain are my pen marks on the leather inside, a reminder that this is not a new bag. Never mind. I was delighted to have salvaged something I could now put back into wardrobe rotation.
If you’re wondering, I’m still considering whether to go through the process with Ghurka. On the other hand, I may spring for a brand-new bag.
CHUTZPAH, a Yiddish word that has no equal in another language, implies the ultimate in arrogance. Leo Rosten explained it this way in his classic 1968 book, “The Joys of Yiddish”: “Chutzpah is that quality enshrined in a man who, having killed his mother and father, throws himself on the mercy of the court because he is an orphan.” That’s a good one, but now I have one that’s even better.
Just about every morning around the same time, for what seems like forever, our home phone rings and PRESCOALIT flashes on the caller ID. I never answer but today I did, hoping to give someone a piece of my mind. But instead of a real person to yell at, a recording informed me: “This is the Presidential Coalition. Please hold on for the next available agent.”
Sprinkling “my darlings” like fairy dust, ending sentences, punctuating pauses. “My darlings! You will be flawless! Poreless!”
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I’m ready for this.
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Tilbury’s long red-gold hair is a flowing tangle, curling down toward her pillowy bosom. Heaving with emotion, those breasts are distraction enough from any facial flaws—certainly for the cameraman, who keeps the focus on her chest. Perhaps I should get a push-up bra, not more makeup. That’s an aside.
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Part treatment, part foundation, this thick and creamy, full-coverage makeup base contains 2% Replexium. “A miracle serum,” my darlings. With regular use, she croons, it reduces the appearance of wrinkles and lines by 22% in eight weeks. You also get 216% hydration in one hour, my darlings. There’s also moss and other “magical, exclusive ingredients.”
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With all of the products I’ve tested over the decades that have promised to reduce wrinkles and shore up my chins, my face should be as smooth and plump as a baby’s rump, I’m thinking. It is not.
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Ah, but maybe this time.
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Tilbury, who has painted the faces of celebrity clients and models, such as Kate Moss, Cara Delevingne, Naomi Campbell, Penelope Cruz, Amal Clooney and Natalie Portman, tested 650 women of all races, skin tones and ages in her laboratory (she pronounces it laBORatory). There are 44 shades, from vanilla to 99% cacao.
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“Celebrities snatch it off me,” she insists. It does not budge in the heat. “It’s magical and fantastic, darlings.”
In the video’s background is a Peggy Lipton clone (remember her?) having layer upon layer of foundation slathered on with a brush for what seems to be the entire 16-minute video. It’s hypnotic. The beautiful blond teenager doesn’t appear to need anything at all.
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The older I get, the less foundation I use, finding most of them too heavy and aging. Amazing what I used to pile on—and why, I ask you. Last year I discovered Chanel’s tinted moisturizer, from the Les Beiges line. That and a dab of concealer or six is as good as I get. At $45 an ounce, it sounds pricey, but it goes on so smoothly, it appears the precious bottle will get me through this winter as well.
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I try a bit of Tilbury magic on lightly moisturized skin. It sits there, mask-like. I don’t like this. I wash it off.
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She suggests a lighter alternative—mixing a bit with your face cream, telling us that this is what she does on her frolicsome vacation trips to the island of Formentera…darlings.
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In my very, very distant memory, Formentera, the smallest of the Balearic Islands off the coast of Spain, is where wandering youth went to get stoned, sleep in caves and have lots of sex. This was entirely too experiential for me, who prefers beds for sleeping and so forth, so I hopped a ferry to Ibiza, where I was on hand for the construction of the first disco in San Antonio Abad. Well. That’s another story.
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Returning to the subject at hand.
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Mixing the foundation with moisturizer did the trick. It was light as air and, even with my tan, a medium beige shade blended invisibly. An extra daub here and there covered the bits I wanted to hide. It also stayed on all day in 90-degree heat and didn’t fall into my, shall we say, creases. And while it’s said to be matte, my skin had a lovely glow. Impressive.
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As the fine folks at Tilbury sent me three shades of beige to play with, I tote them over to my friend Kathleen to test. Amazingly, they all work. These shades do have a magical ability to blend with a variety of skin tones.
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We hit the bathroom. Ensconced on the throne, I am horrified to see her slathering it on straight from the bottle, but she likes her coverage full. “I’m in and out of meetings all day,” she says. “I have to look presentable.”
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Unlike me.
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We go out for coffee. Sitting in an outdoor café, I’m looking at her in the sun—a brutal test—but her cheeks look flawless, although I thought the base a little heavy around her chin. Fixable with a little moisturizer, I think.
“My Chanel is creamier when I put it on, but the coverage doesn’t appear to be as long lasting,” she says after a two-day trial. “Over moisturizer it felt almost dry going on my face—but the result was wonderful, full coverage. It also provides a nice canvas for eye makeup.”
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As impressed as I am—this is glam stuff, suitable if I ever go to the Emmys—I’m really a tinted moisturizer sort. This makes me curious about Tilbury’s Unisex Healthy Glow Hydrating Tint ($40 an ounce), which is highly touted on Make-Up Alley, the totally addictive website where followers test every beauty product under the sun. One reviewer called it, “Witchcraft in a bottle.”
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And who couldn’t use a little of that?
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Tootles, darlings!
—Stephanie Cavanaugh
When not messing about with plants, Stephanie Cavanaugh (aka Stephanie Gardens) likes to test new beauty products and makeup.
MyLittleBird often includes links to products we write about. Our editorial choices are made independently; nonetheless, a purchase made through such a link can sometimes result in MyLittleBird receiving a commission on the sale, whether through a retailer, an online store or Amazon.com.
THIS MORNING my cat decided he wanted breakfast at 4:41. I know because I keep my cell phone next to my bed just in case. In case of what I’m not sure, but anyway I could see the time quite clearly when Lurch came in and started his meowing. Despite my throwing a pillow at him he persisted, enough to get me out of bed, down the stairs and into the kitchen. Naturally I stayed awake because it’s impossible to go back to sleep once you’ve dealt with the contents of a can of cat food. Sadly this situation is not at all uncommon, which might explain why I run out of steam most afternoons.
When I had a dog I would sometimes wonder how much fatter I’d be if I didn’t have to walk him three times a day. Usually I had such thoughts while we were wandering around in a blizzard or a thunderstorm, just to give it a positive spin. (I find it helpful to consider dire situations as weight loss opportunities.) After Rufus died I found out: seven pounds fatter.
Now I’m wondering how much more I might accomplish in life if only I could get more shut-eye. For all I know, sleep deprivation is impacting my creativity. (Maybe that’s why so few of my paintings sell.) I’m willing to bet that Picasso’s cat let him sleep in.
MORE THAN 15 designers, new to Smithsonian’s Craft2Wear, will be displaying and selling their one-of-a-kind creations October 3 to 5, when the National Building Museum hosts this annual show. Even if you’ve been a regular visitor, there will be plenty to delight the eye. Here’s a sneak preview:
Jewelry designers making their debut include Brooklyn, New York-based Michal Lando, who transforms nylon mesh and silver into lighter-than-air necklaces and fluttery earrings. Lando has developed a technique that applies heat in order to shape and structure her materials into ethereal yet dramatic forms. Allison Hilton Jones, who handcrafts her pieces at her studio in Pittsburgh, uses alternative materials, such as concrete and felt, within modern silver designs. Melissa Stiles worked as an architect for ten years before becoming a jewelry designer. She works in hand-pigmented resin, laser-cut stainless steel, brushed aluminum, powder-coated enamel, and silver to create a collection of minimal, durable jewelry in cheerful colors.
Among the new-to-the-show clothing designers are Mary Jaegger, who makes her multi-faceted scarves, jackets and dresses by reconfiguring silk textile remnants. Using methods like dyeing, stitching, piecing, pleating and quilting, she turns the fabrics into clothing using couture sewing techniques. Another first-timer is Marla Duran, who combines vintage-inspired patterns with Asian-inspired elements in her limited editions and one-of-a-kind pieces.
LEFT: Angel Forbes Simmons‘ textiles, like this cyan-blue alpaca shawl, are made on commercial looms at her family’s farm in Prince Georges County, Maryland, from their own alpacas and llamas. The shawls, blankets, capes and sweaters are blended with silk, bamboo and other natural fibers to create vivid, saturated colors. ABOVE RIGHT: Amanda Hagerman is inspired by textures and patterns of rocks, ridges and ravines. Using recycled silver, vermeil and solid gold, she crafts her pieces in her Maryland studio using a variety of traditional and old-world metalsmithing techniques. This statement ring pairs an aquamarine and a clear quartz to blend texture with sparkle. BELOW RIGHT: Richmond, Virginia-based Nina Zabal‘s love of color, shape and pattern inspires her playful, contemporary earrings.
LEFT: Michal Lando‘s ethereal nylon mesh Pod Necklace is also available in dark blue, bronze, mauve and burgundy, with a choice of clasps in gold or sterling silver. RIGHT: Mindy McCain‘s scarves and shawls are not only beautiful, they’re easy to take care of: hand wash with regular detergent, hang or dry flat and finish by steam pressing to restore the softness and shine.
LEFT: Marla Duran‘s cut-velvet top with a retro vibe would look terrific with a midi pleated skirt. RIGHT: Elizabeth Holliday‘s Cowl Neck Coat in Dusk Merino Wool will keep its owner warm. The look is structured, but comfortable. The high collar is made for extra warmth and coziness.
The Craft2Wear three-day event kicks off Thursday night, October 3, from 6 to 9pm, with an opening night benefit and preview party (tickets, $75, advance purchase only). Mingle with the artists, get first dibs on their one-of-a-kind creations and enjoy cocktails and hors d’oeuvres. For tickets ($75 each and includes a return ticket to the show on either Friday or Saturday), visit Smithsonian Craft2Wear.
Hours for the show Friday, Oct. 4, 10:30am to 7:30pm and Saturday, Oct. 5, 10:30am to 5:30pm. Tickets: $15 at the door; $13 advanced purchase. Buy tickets at Smithsonian Craft2Wear.
National Building Museum is located at 401 F St. NW, Washington, DC 20001 (Directly across from the Metro Red Line Judiciary Square Station, F Street Exit).
—Janet Kelly
MyLittleBird often includes links to products we write about. Our editorial choices are made independently; nonetheless, a purchase made through such a link can sometimes result in MyLittleBird receiving a commission on the sale, whether through a retailer, an online store or Amazon.com.
I’M ALREADY sad that fall is over even though technically it hasn’t even started. Still, when you wait for something for nine months it would be nice if it went on for at least that long. Imagine if fall lasted for nine months and the crappy other seasons each lasted for one month. Life would be better.
For example, take winter, an especially harsh time of year. From 1999 to 2011, a total of 16,911 deaths in the United States (or an average of 1,301 per year) were associated with exposure to excessive natural cold. The highest number of annual hypothermia-related deaths (1,536) was in 2010. Added to that are deaths from other causes: Each year avalanches kill more than 150 people worldwide. Over the last 10 winters in the U.S. an average of 25 people died in avalanches annually.
According to the National Ski Areas Association (NSAA): During the past 10 years, an average of 41 people have died skiing or snowboarding per year. During the 2011/12 season, 54 fatalities occurred out of the 51.0 million skier/snowboarder days reported.
Okay, then there’s summer. Skin cancer and shark attacks aside, from 2005-2014 there were an average of 3,536 fatalnon-boating-related drownings annually in the U. S.—about ten a day. Another 332 people died each year from drowning in boating-relatedincidents. About one in five people who die fromdrowning are children 14 and younger.
Spring is nice, right? So why did T.S. Eliot famously write that, “April is the cruellest month”? Possibly because from 2000 to 2017, stings from bees and wasps were responsible for 1,109 deaths, or roughly 62 fatalities each year, the CDC said.
Conversely, not a single death has been reported due to breathing in the crisp fall air, or tromping through crunchy fallen leaves, or driving through mountains covered in a vast array of technicolor glow, so beautiful as to be distracting, especially on the road between Maine and Canada in early October, OMG! Anyway, apple cider has killed nobody. Ditto apple cider donuts, hot mulled cider, apple crisp with whipped cream, pumpkin pie and turkey with all the trimmings. And don’t forget all those great wooly sweaters, cute hats, comfy socks and cozy PJ’s. And of course, Halloween, always sort of fun and different even if you hate it. And all the mums, they can’t hurt you. No more black flies, or greenhead flies, or any color flies. And guess what, all the mosquitoes are gone! You can walk outside without fear of mainlining calamine lotion later that night. It’s glorious. I rest my case.
Some of what’s in store at Smithsonian Craft2Wear. From left to right: a whimsical porcelain creature from Cynthia Chuang, sparkly rings from Gabriel Ofiesh and not-your-everyday hat from Ignatius Creegan and Rod Givens. / Smithsonian Craft2Wear.
FALL IS my favorite season, and one of my favorite events happening in October (besides Halloween) is Smithsonian Craft2Wear. From Oct. 3 through Oct. 5, at DC’s National Building Museum, the annual show and sale of original jewelry, clothing and accessories will feature 70 artists. Some designers, such as Starr Hagenbring and Emma Villedrouin, will be returning, while 17 exhibitors will be making their first appearance. So, whether you want to update your wardrobe with a one-of-a-kind item of clothing or shop for gifts for the holidays, mark your calendars.
I’m looking forward to the return of Hagenbring, who says her work “is the continuing experimentation of painting, cutting, piecing and stitching fabrics into different patterns. The pieces are designed to be viewed 360 degrees, and with movement, to see half the garment is to see only half the story.”
New jackets from Starr Hagenbring make political statements. Left: Angels hover above silhouettes of machine guns. Right: If you had any doubt who the trickster was, look at the eyes at the hem of the jacket. / Smithsonian Craft2Wear.
New this year include a few politically charged pieces, like one emblazoned with the words “The Great Trickster,” another with silhouettes of machine guns on a burgundy background with names of locations of mass shootings embroidered on it.
A trio of Hagenbring bags. Left: Who doesn’t need a protective eyeball? Center: New Orleans chef bag. The chef holds an oyster shell with pearl, made from 1920s silver lace, and a crawfish. Right: Are you a saint or a sinner? The bag gives you options. / Photo by Starr Hagenbring.
Also this year she has introduced “Day of the Dead” tote bags, which, like the New Orleans chef bag, are based on characters familiar to Big Easy denizens, but can be appreciated by all. (Hagenbring lives in New Orleans and helps run the eyewear store, Art & Eyes, with her partner, Paul.) Much of the lace on the bag is vintage, which is then topically painted and cut into shapes. The strap is adjustable and wide, and there’s a practical interior pocket. Chiffon scarves and shawls are a new addition to her repertoire, too. (A 60-inch long scarf sells for $150.)
Left: Emma Villedrouin’s Ella earrings combine pink tourmaline cabochons with precious pink sapphire slices and gold. Right: The Pinwheel Pendant is a staple of Villedrouin’s collection, the perfect thing with a white tee shirt. The type of pearl–from multicolor freshwater to baroque Akoyas–changes the character of the pendant. /Smithsonian Craft2Wear.
I’m also a fan of jeweler Emma Villedrouin, who grew up in Haiti, lived in Brazil and is currently based in Tunis. Villedrouin’s aesthetic is influenced by the Japanese concept of wabi-sabi, which admires beauty that is “imperfect, impermanent, and incomplete.” It explores the tension between roughness and sophistication, simplicity and opulence, irregularity and symmetry. “I find a great deal of peace in creating tangible objects of value. It satisfies the magpie in me to transform fine raw materials into talismans of a sort—touchstones for the wearer,” she says.
The Craft2Wear three-day event kicks off Thursday night, October 3, from 6 to 9pm, with an opening night benefit and preview party (tickets, $75, advance purchase only) Make it an evening: Meet the artists and be among the first to scoop up their creations, while you sip drinks and munch on hors d’oeuvres. For tickets, visit Smithsonian Craft2Wear ($75 each and includes a return ticket to the show on either Friday or Saturday).
Hours for the show Friday and Saturday are 10:30am to 5:30pm. Tickets: $15 at the door; $13 advanced purchase at Smithsonian Craft2Wear..
The National Building Museum is located at 401 F Street NW, 202-272-2448. (Directly across from the Metro Red Line, Judiciary Square Station, F Street Exit)
WITH HURRICAINE season upon us, I’m thinking it looks like fun to be a TV weather forecaster, maybe on the The Weather Channel because that’s everyone’s go-to expert. But before I audition, I’m practicing here with a local weather forecast in my area:
“It’s getting darker earlier these days, which tells me that summer is over and we can expect fall any time now, say towards the end of September. This evening it will become dark, and stay that way until morning. It looks a bit cloudy right now, so it might rain. In fact we could have some locally heavy thunderstorms with damaging winds, making power outages possible. If you’re not prepared, I suggest going out and getting candles, a gas lantern, batteries, water, eggs, butter, milk, OJ, pet food and a copy of The National Enquirer in case the storm turns out to be even bigger than we think and you’re stuck at home with no TV or Internet. Keep in mind that it might not rain at all, since it seems to be brightening. Then again, it might just sprinkle a little, so if you need to water your vegetable garden you should, although if it does rain a lot then you’ll be sorry.”
I USED to think I had lots of black pants—maybe a dozen or more. But that’s chopped liver compared to Managing Editor Nancy McKeon’s whopping 37 (not including some folded knits that she didn’t realize she had). Well, that was the number she reported back in March when she was putting her house up for sale. Now that she’s moved, she’s on a mission to donate a bunch of them.
The answer to why we have so many can only be because we’re on the quest for those PERFECT BLACK PANTS. Does that pair even exist? Nancy got excited last spring when she got a postcard from Eileen Fisher (see photo above) announcing not one pair of perfect black pants, but “5 essential shapes, 1 beloved fabric,” a textured washable stretch crepe. Currently on EF’s website, they feature three perfect shapes: slim, tapered and wide (in that stretch crepe).
We all have our favorite shapes and lengths, but it’s fair to say we do need a wardrobe of pants, that one “perfect” pair cannot do the whole job (think boot-cut, cropped pants, wide-leg, breezy linens in warm weather—the list goes on).
Art Director Kathy swears by a couple of pairs from Eileen Fisher. “I’ve had some of mine for at least 20 years, and they still look like almost new. The trick is to always have them dry-cleaned even though they’re supposed to be washable.”
Kathy goes for the full-length, straight-leg style, with an elastic waistband. “I’ve had them so long, in fact, that I’ve had to have the elastic replaced in at least two pair,” she writes.
Pat Byrne thinks an elastic waistband is a sign that you’ve simply given up. Her favorite is the Bleecker pant from Lafayette 148 New York. She’s long in the torso, and the rise is high enough to reach all the way up to her waist, where she wants the waistband (isn’t that why they call it a waistband?). She notes, though, that she usually buys them on sale.
Even since I discovered them at Washington DC’s Relish boutique, I’ve been a devoted buyer of Joseph’s gabardine leggings. When I couldn’t find my favorite pair a couple of years ago, I kept buying different labels (Theory, Everlane, etc.) in hopes of replacing the ones I’d lost. No dice. Luckily a month or so later my husband uncovered my Josephs lurking in a dry cleaner bag along with his trousers.
—MyLittleBird Staff
LEFT: Lightweight, washable Stretch Crepe Skinny-Leg Ankle Pants in a viscose-nylon blend come in midnight, black and charcoal and are $178 at Eileen Fisher.
RIGHT: The Bleecker Italian Stretch Wool Pants, and of course it comes in black (as well as white, ink, dark gray, light gray; khaki is shown). They’re $378 at Lafayette148.
LEFT: Lafayette 148 New York’s Finesse Crepe Cumberland Pant ($448) has a flattering wide leg, complemented by a pleated front and high waist with an attached grosgrain belt.
RIGHT: “Cold shoulder” tops leave a lot to be desired (mostly more fabric), but the bold front vents in A.L.C.’s Conway Double-Slit Pants could provide a flirty little flutter when you walk. They’re $395 at Neiman Marcus.
LEFT: Satin Trousers ($453, Farfetch) feel special, and you can dress them up or down. I prefer wearing them for an occasion. Pairing them with a black satin or silk blouse would be très chic. CENTER: I’ve worn my Joseph Gabardine Stretch Leggings (they come in navy and black, white and teal) so many times I bet if I figured out the per-wear cost it would be about $1. The Joseph label refers to them as an elevated essential. Agreed. They sell for $295. RIGHT: Leather pants are something I think I’d also wear a lot. They usually hover at the $1,000 mark, so these faux Leather High-Waisted Trousers from Nanushka ($408, Farfetch) appeal to my budget.
If all that plain black gets to you, here’s an antidote from Versace. These pull-on black, white and gold silk-twill pants with zebra stripes and starfish are $795 at Farfetch.
MyLittleBird often includes links to products we write about. Our editorial choices are made independently; nonetheless, a purchase made through such a link can sometimes result in MyLittleBird receiving a commission on the sale, whether through a retailer, an online store or Amazon.com.
