In the hands of Judith Leiber, purses are far more than utilitarian catchalls. You could call them museum quality – and a New Hope show does just that.

By Elizabeth Wellington
Inquirer Fashion Writer

Judith Leiber pulls six handbags from deep inside her Manhattan bedroom’s walk-in closet. One black, two brown, two more black, their gilded chains and leather straps neatly tucked under gold clasps.

That’s surprising. Shouldn’t there be a jewel-encrusted clutch somewhere in the personal collection of this renowned handbag designer-to-the-stars? Where is the ladybug covered in red rhinestones and dotted with onyx? The famed multicolored pig? The leather windowpane clutch inspired by painter Piet Mondrian?

Leiber, dressed all in black, laughs quietly. Her 85-year-old eyes are the only things sparkling in the room. Her own functional baubles have been ransacked by curators for museum exhibits, including “Fashioning Art: Handbags by Judith Leiber,” which opened last week at the James A. Michener Art Museum in New Hope.

“I’m very fortunate,” Leiber says of the traveling exhibit, which started out at the Corcoran Gallery of Art in Washington four years ago and will end its tour in New Hope on April 30.

“I had a very good friend in Washington [Corcoran benefactor Evelyn Stefansson Nef], and she persuaded the director of the museum to give me an exhibition. The people liked it.”

The show honors Leiber’s 35 years as a business owner, and – much like the Metropolitan Museum of Art’s homage to another living fashion legend, Iris Barrel Apfel – it proves that a unique style is timeless.

Leiber’s designer purses, 160 in all, are grouped by theme in the Michener-New Hope’s 1,800-square-foot Carol & Louis Della Penna Gallery. Presented in 18 glass cases, many of the handbags look as if they were crafted last month, rather than 20 or 30 years ago.

As soon as you enter, the double-bow closings and specially gilded pull-down locks on a grouping of alligator and snakeskin “everyday” bags hit you.

Another assemblage, seemingly inspired by all things New York, includes a bag with the outline of the Empire State Building and the Chrysler Building, and one of a jewel-studded envelope inspired by a Sonia Delaunay painting of children on a fire escape.

A case of sophisticated black evening bags includes one with numbers “007″ in silver rhinestones. And there are purses shaped like Faberge eggs, squatting Buddhas, polar bears, and elephants.

Her favored “minaudières,” or precious miniatures, resemble slices of yellow and pink watermelon, tomatoes and asparagus. Some have glittering pillboxes to match. These designer purses are dainty – just big enough for a lipstick, a credit card, and a $100 bill. Leiber says: “When going out at night, a woman doesn’t need anything else. You don’t have to put your whole life in your purse.”

Which is just fine with Liz Rizor of New Hope, who attended Thursday night’s preview for museum sponsors. She enjoyed the exhibit so much, she said, her eyes misted.

“Some people dream about money. Some people dream about art. I just love this handbag,” Rizor said, holding her own personal Leiber, patterned after an Oriental rug at the entrance of the Bellagio Hotel and Casino in Las Vegas.

Leiber was born Judith Peto in Budapest, Hungary. She wanted to study chemistry at a London college and hoped to make women’s skin creams, but World War II prevented her from leaving Hungary. Instead, she became the first woman to join the Hungarian Handbag Guild, where she honed the intricate skills of her craft, including making the prototypes from start to finish.

In 1946, she married a GI, Gerson Leiber, and the next year the couple moved to New York. Judith worked for several handbag companies until 1963, when she invested $5,000 in her own business. One of her early customers was Mamie Eisenhower, wife of the former president.

“I started making metal bags because I thought that ladies spent too much time running back and forth to the bank picking up evening bags made of solid gold,” Leiber explains, her accent still strong. “The first one I designed came in [from the manufacturers] so badly, I had to put rhinestones on it. It turned out to be a good mistake.”

That bag, the chatelaine, became Leiber’s favorite piece and her signature bag (it’s still in production). Back then, the purse cost about $100. Today, a Leiber bag can run anywhere from $700 to $7,000.

A Leiber is a status symbol: Greta Garbo, Joan Rivers and Elizabeth Taylor all have carried them. Hillary Rodham Clinton owns one that looks like Socks the cat; Barbara Bush’s is modeled after former first dog Millie. Beverly Sills, opera legend and onetime chair of Lincoln Center for the Performing Arts, owns about 85 of them.

And Linda Tompkins, a volunteer at the Michener who lives in Buckingham, has more than a dozen.

“I started collecting them in the 1970s,” Tompkins said as she stood at the museum Thursday night, sporting a full-length black mink coat and a short-handled alligator-skin Leiber. “My husband wanted me to have them because they are so beautiful. They are truly little works of art.”

The designer is known for her meticulousness and low-key personality. While at the helm of her company, she regularly worked 18-hour days, producing five collections a year and 100 handbags. She has designed more than 4,000.

In 1993, the Leibers sold the company to Time Products, a British watch firm. Judith stayed on as president and chief executive officer while Time Products opened a Madison Avenue boutique and launched a line of Leiber accessories. (Until then, her bags were available only at department and specialty stores, such as Bonwit Teller in Philadelphia.) She retired in 1998.

Since then, the company has capitalized on the trendiness of all things that glitter. Under creative director Frank Zambrelli, the Leiber company has reached out to the young shopper who appreciates the luxe life but doesn’t travel in the same social circle as presidential wives.

In 2004, the company partnered with Sanrio to introduce a limited-edition Hello Kitty collection. After rapper Nelly gave Leiber a shout-out in his single “Flap Your Wings,” the company asked him, actress Nia Long, and Ivana Trump to pose in a series of print advertisements.

And in the fall, the company teamed with Mattel to produce a Judith Leiber Barbie Doll.

A few weeks ago, on her 85th birthday, Leiber sat in the living room of her Park Avenue penthouse, sipping water. Asian statues surrounded her, pieces picked up over years of antiquing. Greenery warmed the home, as did vibrant paintings by her husband, who rattled around in the kitchen but never emerged.

She said she was excited by her longevity in the business, but slightly dismayed by today’s handbag fashions. If it were up to her, women would definitely follow stricter fashion rules.

“Everything we made was to enhance a woman’s costume,” Leiber said. “Today, people don’t do that. They put belts, buckles, rhinestones on very large designer handbags. Even day bags. It just doesn’t make sense.”

Contact fashion writer Elizabeth Wellington at 215-854-2704 or ewellington@phillynews.com. Read her recent work at http://go.philly.com/elizabethwellington. The Michener-New Hope will host Judith Leiber at a luncheon April 19; tickets are $100. Information: 215-340-9800 or www.michenerartmuseum.org.

(NOTE: http://www.eFashionHouse.com does NOT support the sale of counterfeit designer handbags and purses.)

Jan. 26 (Bloomberg) — “Louis Vuitton?” asks the woman on a busy corner in New York City’s Chinatown. With a glance, she leads the way to a nearby basement and offers a canvas “Hudson” handbag with the trademark LV monogram for $40. The genuine article usually costs about $1,430.

Police crackdowns are pushing counterfeit sales off Manhattan sidewalks and into stalls hidden in residential and office buildings. Now luxury goods makers including LVMH Moet Hennessy Louis Vuitton SA are hiring lawyers and private investigators to go after bootleggers law-enforcement authorities haven’t been able to stop.

“It mimics what happened in the drug trade,” says Andrew Oberfeldt, a retired New York City detective who conducts undercover “buys” for clients including LVMH. “Once it gets driven underground, it gets more difficult to detect.”

Sales of knock-offs, including purses, scarves and DVDs, rose to $23 billion in New York in 2003 from $15 billion in 1995, according to a report from City Comptroller William C. Thompson Jr. The surge erodes the exclusivity of luxury brands, damages their reputations and costs New York City more than $1.6 billion a year in tax revenue.

“New York City is the first place counterfeiters think of in the United States,” says John Tepper Marlin, Thompson’s chief economist. He estimates 8 percent of all fakes sold in the U.S. are sold in the city.

There are no solid numbers on how much individual companies lose to counterfeiters, says Michele Moore, a spokeswoman for the International AntiCounterfeiting Coalition, whose members include Paris-based LVMH, the world’s largest luxury-goods maker and owner of Louis Vuitton; Burberry Group Plc, the London-based company that built a business around a plaid-lined trench coat; Swiss watchmaker Rolex Group’s U.S. distributor, and Tiffany & Co., the biggest U.S. luxury retailer.

$250 Billion

Trademark infringement, such as counterfeit sales, drains about $250 billion from U.S. businesses in lost sales a year, according to the coalition. Clothing, handbags, backpacks and watches accounted for 56 percent of the $139 million of the fake goods seized by U.S. Customs in 2004, according to the Department of Homeland Security.

“Designs and trademarks are the most valuable assets a company has,” says Carole Sadler, senior vice president and general counsel for Coach Inc., the largest U.S. luxury leather- goods designer. “If the legitimate consumer is no longer interested in your product because it is ubiquitous, then you have lost the cachet of the brand.”

Peddler Charges

Buyers seeking cheap copies in New York converge on locations including Canal Street in Lower Manhattan. There peddlers steer potential customers to off-street sales spaces.

“New York is a shopper’s paradise, and people know that you can go to Chinatown or Broadway in Manhattan to buy a knock- off,” says Barbara Kolsun, general counsel for 7 for All Mankind Jeans, whose designer denim trousers can retail for more than $150. “It’s even mentioned in tourist guides.”

Unlike Italy and France, where consumers can be fined for buying counterfeit goods, there’s no law against buying fakes in New York. Penalties for selling fakes vary depending on whether the seller is a mere peddler or a wholesaler or importer.

Peddlers are typically charged with a misdemeanor punishable by up to a year in prison; bigger operators can face federal felony counterfeiting charges that carry penalties of as much as 10 years in prison for first offenders.

The New Drugs

“Counterfeiting is the new drugs,” said Kolsun, a former chairman of the International AntiCounterfeiting Coalition.

Manhattan District Attorney Robert Morgenthau’s office prosecuted 1,469 cases in 2004 in which the highest charge was third-degree trademark counterfeiting, a misdemeanor punishable by up to a year in prison, said Leroy Frazer Jr., head of the D.A.’s Special Prosecutions Bureau.

Manufacturers and retailers can’t always depend on the police to locate and arrest counterfeit peddlers or wholesalers because officers aren’t allowed to enter a building without probable cause that a crime is occurring, according to trademark lawyers including Steven Gursky of Dreier LLP, who has represented Polo Ralph Lauren Corp.

The companies hire investigators such as Oberfeldt, president of Abacus Investigations & Security Inc. in Manhattan, to ferret out crooks and build a case that can be pursued in civil or criminal court. Oberfeldt has executed court-ordered seizures of counterfeit goods ranging from handbags to shoes.

Deep Pockets

Such civil seizures are authorized by state and federal laws including the Lanham Act, the principal U.S. trademark law. Trademark holders can obtain a court order authorizing them to seize counterfeit goods and destroy them. Discovering the phony goods is usually a job for private investigators, who are among the most effective weapons against counterfeiters, say trademark lawyers including Brian W. Brokate, a partner at Gibney, Anthony & Flaherty in Manhattan.

“Over the years, because of crime in New York, local law enforcement was not available, so using private investigators is recognized by the federal government and courts,” says Brokate. “If you go after counterfeiters, many disappear. Our firm goes after deep pockets, entities with assets.”

Fighting counterfeiters also makes unlikely bedfellows of normally fierce competitors, Brokate says.

“I will be around a table with 14 different companies that compete in the marketplace and do so heavily,” he says. “But when it comes to attacking trademark infringement, they’re all holding hands.”

Industry Assistance

Federal authorities welcome the industry’s assistance, says Bruce Helman, head of the FBI’s New York-based computer and intellectual property squad, and Martin Ficke, special agent in charge of the Department of Homeland Security’s Immigration and Customs Enforcement office in New York.

“They give us the beginning of the investigation, and we take over from there,” says Sgt. Ramon Rivera, of the New York Police Department’s Trademark Infringement Unit. “They’re very helpful.”

Members of the AntiCounterfeiting Coalition declined to comment about their tactics to thwart counterfeiting. Some of their activities are detailed in court papers from cases such as one filed by Louis Vuitton, Fendi and Rolex against a Manhattan landlord and 29 unidentified peddlers in March 2004.

In that case, investigators including Oberfeldt made several undercover purchases of counterfeit goods in a residential building in Manhattan. Their evidence led to a $16 million judgment in Manhattan federal court against the landlord, Michael Marvisi, and the 29 vendors.

Calls to Jura Zibas, named in court papers as Marvisi’s lawyer, weren’t returned.

Prada, Coach, Burberry

In another case, a group of trademark holders hired Oberfeldt, who investigated sellers of counterfeit goods working out of the basement of a loft building on lower Broadway in New York. He secured a federal court order and along with New York City police officers seized tens of thousands of items including fake Prada, Coach and Burberry products.

A police investigation to locate the suppliers of the phony goods continues, Oberfeldt says.

So does the sales of counterfeit watches, purses and DVDs on Canal Street.

The woman offering the “Hudson” bag says her name is Tina Yang. The space where she escorts a reporter during the holiday shopping season is a locked cubicle the size of a walk-in closet filed with several hundred purses. After the reporter identifies herself, Yang declines to answer several questions about her operation and shoves the reporter out and closes the door.

At the corner of Broadway and Canal, Micki Iltis, 16, a blonde high-school student visiting New York from Graham, Texas, holds up four black plastic shopping bags.

“I got a Louis Vuitton messenger bag, a Vuitton purse, a Gucci purse and wallet,” says Iltis, who says she lives 60 miles west of Ft. Worth. “I’m a real good bargainer, so I got it at a good price. This all would’ve cost me more than $1,000 if they were real.”

To contact the reporter on this story:
Patricia Hurtado in New York at pathurtado@bloomberg.net.
Last Updated: January 26, 2006 00:11 EST

Press Release by: Pettitt Marketing
Published on openPR 01-26-2006 08:57 am – CET

(openPR) – In its ongoing effort to provide Internet visitors with useful, informative resources, Pettitt Marketing has just launched five new websites, covering everything from angels to ancestry, from handbags to trucks, even tires for your family car.

LAS VEGAS, NV December 14, 2005 – Pettitt Marketing today announced the launch of five new Internet websites designed to provide visitors with useful, informative resources about their favorite topics.

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Please do not cofuse eFashionHouse.com with any other website with a similar name selling designer purses. We guarantee our products are authentic, and we stand behind our products.

The risk of buying a counterfeit handbag online is high nowadays. We do not support, approve or affiliate ourselves with the sale of counterfeit merchandise. Our designer handbags and designer purses are purchased from high end resources throughout the world. Our goal is to source the best designer merchandise at the lowest possible prices to pass the savings on to our ten-year loyal clients.

If you have any questions about any online purchases you are making, please contact Anna@eFashionHouse.com. She will reply to your emails quickly and be as helpful as possible. To comment, please join our Blog and help identify websites selling fake designer purses.

By Alyce Lomax (TMF Lomax)
January 24, 2006

Despite a touch-and-go holiday season for some retailers, Coach‘s (NYSE: COH) earnings suggest that it’s kept up its luxury appeal. Investors certainly liked the numbers, bidding up the stock’s share price by nearly 10% in recent trading.

Coach‘s second-quarter earnings increased 37% to $174.2 million, or $0.45 per share. That trumped analysts’ consensus estimate of $0.44 per share. Coach‘s sales also rose an impressive 22% to $650.3 million. The company’s continued success in the Japanese market is especially notable; Coach considers Japan a potential source of future growth. The report also mentioned strong full-priced sales of the company’s leather goods, and those sales’ subsequent positive benefit on margins.

It’s hard to argue with Coach‘s strategy these days. Analysts and the media keep coming up with possible pitfalls, from consumers tightening their budgets to the danger of cheaper Coach merchandise at outlets. Yet Coach just keeps on tempting buyers throughout the financial spectrum, usually flying in the face of current conventional wisdom. (For example, high-priced gas didn’t seem to dampen enthusiasm for Coach’s high-priced bags.)

Coach has plenty of competitors among upscale designer handbags – Louis Vuitton, Burberry (LSE: BRBY.L), Fendi, and more — but they don’t seem to detract from its incredible momentum. It’s possible that Coach may be mainstreaming its brand, which could one day be a mistake, but in the meantime, it’s drawn a lot more women into its fold by convincing them that they, too, can afford the luxury.

It’s also worth nothing that Coach pretty much nailed every target set forth in yesterday’s Foolish forecast for the company. In fact, it went one better by increasing its earnings guidance for 2006 to $1.23 per share, excluding options expensing costs.

However, the stock’s big gain today seems a little bit overly enthusiastic on investors’ part. Coach shares were already as expensive as the company’s pricey handbags. Although Coach’s growth rate is definitely impressive, it seems that investors may likely find a better deal if they wait for this stock to go on sale.

For more on Coach, see the following Foolish content:

Check out fellow Fool Rich Smith’s Foolish Forecast for Coach.
Fool Nate Parmelee discussed a questionable call not too long ago.
One Fool wondered recently if Coach could keep up.
Alyce Lomax does not own shares of any of the companies mentioned.

By Suzanne S. Brown
THE DENVER POST

It says you’ve arrived. That you’re part of an exclusive club. That you are a fashion insider. And an affluent one.

Your purse packs a punch.

“In an age when nobility has no true signature, an expensive designer bag is the most rapid social shorthand for status,” Anna Johnson, the author of Handbags: The Power of the Purse (Workman Publishing, 2001), writes by e-mail. “Between women, it’s a sign of success and social mobility. Fiercely so.”

Customers are lining up to spend $1,200 or more for such models as Chloe’s padlock-adorned “Paddington” and Fendi’s top-handled “Spy Bag.”

Stores have waiting lists for those designs, as styles such as the 50th-anniversary edition of Chanel’s famous 2.55 quilted leather bag with chain handle are flying out of Neiman Marcus and Saks Fifth Avenue.

Why are status bags getting so much attention when, according to the consumer-research outfit NPD Group, most American women spend only $40 to $65 a bag?

Handbags are hot for a number of reasons. Trends flow down from the high end to the mass market, and companies serving both customers stand to make big profits on a product that women love to buy.

Handbag sales in the United States were projected to be $5.76 billion for 2004, an increase of 8 percent, according to Accessories Magazine, which conducts an annual audit.

“Everyone is getting into it because there’s so much money to be made,” says Valerie Steele, the director of the Museum at Fashion Institute of Technology in New York and author of Handbags: A Lexicon of Style (Rizzoli International Publications Inc., 1999).

In addition, for the shopper, a handbag is a forgiving purchase, not requiring she be built like a supermodel. “You don’t have to be a size 2 or have a wonderful little waist, which helps you get over the despair of shopping,” Steele says.

And a designer bag can lend clout to a wardrobe at a price far below what a full outfit from the design-house label might cost.

“One step up from perfume, the handbag is also the most accessible item an ordinary working woman can afford from a very exclusive house,” Johnson says. “Status bags are a cheap thrill, comparatively speaking, for those who want business class but are living coach.”

“Handbags are collectible in a way that shoes are not,” the author adds. “They don’t pound the pavement. They also are wearable in a way that hats are not. All you need is a manicure, and you’re ready to rock.”

Women who buy status bags often speak of investing in the item, as opposed to clothing purchases that are likely to be in and out of style. “When you look at how often you carry a bag, it’s easier to justify (the price),” says Holly Kylberg of Denver, who is busy on the social and philanthropic scene and is known for her extensive designer wardrobe. “In many cases, you are wearing it every day.”

Purses also are the type of item that can be put away after a season and recycled a year or two later, says Evelyn Dallal, a New York fashion public relations executive.

“I’m constantly pulling out my Epi leather Vuitton bags. I’ve worn them for years,” says Dallal, who used to represent Vuitton and now has another high-end accessories client, LAI.

“I’m an accessories person. I dress simply, but I love color and exotic skins. I never used to buy colored bags, but I’ve learned it’s a way to dress up your outfit.”

This is a prevailing thought about status style: wearing a single designer or a bunch of designer duds head to toe looks dated, while toting a Gucci purse while wearing a casual outfit sends another message: “You spent a bundle,” Steele says. “Nobody wants to look like a fashion victim.”

But what bag does a woman choose? Which one is going to be the true “it” bag, a style with the staying power of Hermes’ Kelly, named for one of its most famous customers, Grace Kelly, or Chanel’s classic quilted bag? Or the more contemporary Fendi baguette or Dior saddlebag?

Designs from such companies as Chloe and Balenciaga are gaining ground with young shoppers.

Michelle Heacock-Webster, a handbag-and-accessories manager at Neiman Marcus, says she recently talked with a college-age woman who had her sights set on a status bag. “She said, “What I can really afford is Kate Spade, but I must have a Chloe bag. This is the only bag I’m getting.”

The store expanded its handbag department a year ago and added several lines, but Heacock-Webster says she didn’t notice “the explosion” in interest in bags until this past spring.

“I have had some Chloe and Fendi bags wait-listed since July. We basically take the orders and ring them when they come in. They never even hit the floor,” Heacock-Webster says.

She and others say that customer interest is fueled by celebrity sightings, advertisements and other marketing by the handbag companies.

Fendi’s success a few years back with the baguette bag, which was seen on everything from the HBO hit Sex and the City to the arms of a slew of Hollywood starlets, led other companies into the game, says Ellyn Chestnut, a fashion-accessories director at Elle magazine. “The market was flooded with people who wanted to do an ‘it’ bag. Designers would want to know what we thought of them and were pushing us to feature them.”

For a bag to attain that status, Chestnut says, “It has to have coolness and wearability.”

Exclusivity helps, too. From many of the high-end companies, bags only trickle into the stores, leading to limited supplies and resulting wait lists.

Also a factor is that the bag be seen on the right people, including editors and celebrities. “Prada for many seasons would give fashion editors their bag of the season,” Chestnut says.

The focus now has shifted to celebrities, who provide “instant gratification” to companies when their designs are seen in magazines, she says.

And it doesn’t matter if Lindsay Lohan or Paris Hilton got the style in an awards-show goodie bag, if they are photographed wearing it, “the look is celebrity-endorsed, and it inspires people to buy,” says Deborah Rudinsky, merchandise manager for accessories at The Doneger Group, a New York City buying office.

“Accessories play a much bigger role in a woman’s wardrobe than they ever have,” Rudinsky says. “It’s a sensible way of updating your own inventory, regardless of your income level.”

Comment by Anna Miller
The online handbag business is spreading like wildfire because the market is being filled with “fakes.” Be very careful when buying a designer handbag online. Choose a reputable seller with a positive following and track record. When in doubt, write to Anna@eFashionHouse.com and request answers to your questions. We’ve been selling online for over ten years. We sell ONLY authentic designer handbags and designer purses. Click here for details: eFashionHouse.com

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Please make note and spread the word.
eFashionHOUSE.com sells ONLY authentic designer purses.

has worn off the craze for bling.

The word “bling” has been overused by every two-bit jeweller selling cubic zirconia. It has been worn out by fashion publicists – who for the past five months have been chirping, “Bling in the New Year!” – and by every morning television host trying to make the umpteenth shopping segment sound fun and nifty.

Use of the word has become like a nervous tic, as persistent as a dry cough and as annoying as old people who say “You go, girl!”

If the word is never again uttered by an ageing cultural observer – some well-meaning baby boomer or a mainstream news organisation proud to have incorporated “edgy” lingo into its coverage – then 2006 will be a fine year.

Bling – as a noun and a verb – originated, as the new millennium got under way, with hip-hop performers, those arbiters of cool and practitioners of the most exquisite forms of conspicuous consumption. “Bling” used to be reserved for jewellery, decorative wheel rims or gold teeth – all excessively flashy and extraordinarily expensive. It was a terrific term because it had the quality of a sound effect. It brought to mind accessories so bold and glittering that looking at them was equivalent to staring directly into a thousand camera flashes. Click, whir, bling!

From the beginning, people exuberantly embraced the word. It quickly entered the mass communication lexicon: the pages of weekly magazines, newspaper headlines and the latte chatter of soccer mums. There was little concern for its correct usage. It was applied to anything with the slightest sparkle. A brooch sprinkled with cheap rhinestones could be referred to as bling. There was no self-editing, no recognition that all the bling-bling-blinging was starting to sound embarrassing.

Still, for a while, it was tough to argue with the overuse. It seemed to be called for. Everything coming down the runway, squeezed into overcrowded department stores or sold from the back of a panel van seemed to be encrusted with something that glittered. If the word didn’t apply to a single garment, it certainly applied to the overall fashion of the times. The style industry was in a “bling-bling” mood.

Designers such as Miuccia Prada were at the forefront in celebrating elaborate glitz during the daylight hours. Prada embellished grandpa cardigans and heavy cable-knit pullovers. She decorated tweed shoes, Prada leather designer handbags, camisoles and dresses.

Hip-hop performers were consistently photographed in thug denim and 20-centimetre-long diamond-encrusted crosses (“Just giving thanks to God, from whom all blessings flow!” Thump chest several times and then point dramatically up to the heavens).

Rapper 50 Cent was draped in so many diamond and platinum medallions that one felt compelled to paraphrase a line from the film I’m Gonna Git You, Sucka, which, in 1988, first documented death by bling. “How’d he go to the bathroom with all that stuff on?”

New York’s Jacob the Jeweller – diamond and jewellery designer to the stars – established his reputation by cramming as many diamonds as possible onto a timepiece. Mary J. Blige practically invented ghetto fabulous, a look that evoked a nouveau riche street style founded on diamonds, furs and designer labels.

But by last year, fashion and hip-hop had changed. Where there was beaded everything on the runways, there is now basic black and demure white. Sequins have been exchanged for lace. Last year, 50 Cent attended a Giorgio Armani fashion show wearing clothes that barely whispered. The rapper-turned-actor has packaged himself in the dignified greys of Wall Street. Blige has scaled down her focus on chinchilla and carats. She has found the Lord and a stylist who understands the meaning of discreet.

Even Elton John, pop music’s master showman, opted for a sober black suit for his wedding to David Furnish. People are still wearing chains and earrings. John had a diamond stud in his ear at his wedding. Rappers still like their watches encrusted with jewels and their cross charms visible from 20 paces.

But that’s not bling. That’s just jewellery. The artists have moved on. So has fashion. It’s time for everyone else to do the same.
The Washington Post

COMMENT by Anna Miller
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By JANELLE ERLICHMAN DIAMOND, The Washington Post
January 19, 2006

Even as spring fashions get shoved down our (still-wrapped-in-a-scarf) throats, it’s OK to still be hunting for the perfect winter bag. (In fact, chances are it’s on sale.)

The bags are all about the embellishments, aka heavy-duty details, says Gina Kelly, Seventeen magazine’s fashion director. This season’s bags aspire to grow up and be their own version of the perfect Marc Jacobs quilted bag with heavy chain handles. “These aren’t light bags – they all have really interesting ornate details like hardware, studs, grommets and chains,” Kelly says. The look: rich and luxe with colors ranging from navy and black to rich jewel tones.

If you’re willing to spend a little more money but don’t want a bag with an expiration date (winter white was so last season), stick with browns like coffee and toffee, says Kelly: “It’s very year-round.”

When choosing a bag, look no further than your favorite designer, Kelly suggests. Chloe bags, like the line, are slouchy, slightly French and very bohemian. Louis Vuitton is more fanciful and rich-looking.

And your wallet, brush, lipstick, checkbook, iPod and Palm rejoice: Oversize bags are in.

Winter involves so much bundling: a big, black coat and matching hats, gloves and earmuffs, says Kelly. So, have a little fun with your purse. “It’s nice to have a fun, pretty bag because, really, in the winter that’s all you see,” she says.

By Perin Ilavia

Retro designs are inspiring international fashion houses in a bigger way. Whatever be the design, comfort is the key word and people have their own individual styles that eventually become their fashion statement.

Varsha Bhawani is one such designer who doesn’t want to restrict herself to the prét collections crowding lifestyle stores and has now extended her flair to designer wears as well. Varsha an MBA, gave the white-collar job a shot but decided to be on her own. Armed with a self-confidence generated from the compliments her designs got from her friends, Vinegar was conceived. This outlet has given her the opportunity to display a range of Western and Indo-Western wear for those looking for exclusive designs. The mother-daughter duo that manages Vinegar is a cool combo with Varsha managing business aspects and designs for young and trendy and her mom Kavita choosing garments for women over forty.

The racks at the store showcase spaghetti tops, A- line and streamline skirts in brocades, chiffon’s and cotton and many more. There are corsets to mix and match with skirts in sequence, threadwork, coloured beads and stone. There are casual and evening wear in maroons, turquoise, browns, beige and black.

Kavita says Bangaloreans are more conservative compared to their Mumbai counterparts and the designers have to design the outfits accordingly. No plunging necklines, bare-backs, or see-throughs for them which are otherwise back in vogue.

Complement your outfits with matching handbags and shoes available here. There are also bracelets, neck-pieces, rings, earrings and belts that would go well with your pick.

Varsha is also planning outlets in other metros and export her designs to Spain as well. Vinegar is located at Sigma Mall, Cunningham Road, Ph : 55121175

AT THE MANHATTAN VINTAGE CLOTHING & ANTIQUE TEXTILE SHOW

Designs by 70s Style-Setter, Ossie Clark, Inspire Today’s Hottest Looks

Imagine, if you will, the excitement, the furor when he first introduced his snakeskin fashion in the late 60s. Imagine, too, how coveted were his beautiful romantic dresses, with their flowing layers, yet strikingly graphic designs. He was one of those unforgettable talents – a formidable force behind the amazing success of the late 60s/70s “Boutique Culture,” that saw the ascendancy of London’s BIBA and Quorum boutiques to the heights of fashion influence. For more than a decade (from the 60s-70s), he dressed the famous and fashionable at a time considered to be London’s most rule-breaking, only to die neglected and penniless, murdered by a lover.

Now his look comes to the Big Apple in a major retrospective and sale of great Ossie Clark fashion, premiering at the city’s most sought-out vintage fashion event – the Manhattan Vintage Clothing & Antique Textile Sale, Feb. 3 & 4 at the Metropolitan Pavilion, New York City. It’s a real “British Invasion” and it couldn’t be more timely! The 70s influence is felt in all corners of the fashion world, with the abstract pattern design championed by Clark turning up today in the collections of such prominent designers as Giles Deacon, Matthew Williamson and Miu Miu – to name just a few.

What will we be shopping for as Spring approaches? Those romantic creations in chiffon, and rayon crepe that gave an abstract, painterly look to much of the fashion of the late 60s and 70s. Preview Spring 2006 fashion on the pages of Harper’s Bazaar and Vogue and you’ll be instantly catapulted back into the ethereal world of Ossie Clark—a world that was considered innovative and even shocking, to many of the more traditional fashion houses of the day.

The Manhattan Vintage Clothing & Antique Textile Sale’s salute to Ossie Clark will contain items from the collection of Mark & Cleo Butterfield of C20 Vintage Fashion in London. Many of the garments they will be bringing were recently exhibited in an Ossie Clark retrospective at London’s prestigious Victoria & Albert Museum. While specializing in Ossie Clark creations, the Butterfield’s also carry fashion from top designer names of the 50s-80s “British Boutique Movement,” including Thea Porter, Biba, Mary Quant, Bill Gib, Sandra Rhodes, Jeff Banks, Galliano and Vivienne Westwood. These designers will be well-represented in the upcoming sale.

Ossie Clark was first recognized as a design talent at the age of 23 when British Vogue singled him out in their August 1965 issue. That year, he went to work at Alice Pollock’s Quorum Boutique, along with textile designer Celia Birtwell, whom he later married. Together, the couple created beautiful garments that combined a number of romantic textiles – velvet, rayon, chiffon—in a single garment. These dresses often had a scooped or deeply V-ed neckline, long flowing sleeves and ingeniously cut panels that gave the appearance of layering—a signature look of the late 60s and 70s.

London’s elite and trend-setting gravitated to Ossie Clark’s designs. Twiggy, Jean Shrimpton, and Penelope Tree modeled his silhouettes for top photographers David Bailey, Norman Parkinson and Helmut Newton. He offered his super-star customers, among them Mick and Bianca Jagger, society front liners Diane Radley and Nicky Samuel, fresh alternatives to dressing, discovering new shapes such as trousers for women, which were transformed into fashion essentials.

Clark’s influence continued to grow when he began designing for Alfred Radley, who purchased the Quorum business in the late 60s. Designers at Radley interpreted Clark’s sketches and patterns in a line of more affordable clothing that became very popular. His career declined by the end of the 70s and he died tragically in 1996. Today, Clark’s designs are considered a hallmark of 70s fashion – an era that is experiencing new popularity as fashion shifts to a less-structured, feminine layered look this season.

With the popularity of all things “70s,” The Manhattan Vintage Clothing & Antique Textile Sale will “pull out all the stops.” Accessories—from designer handbags and belts, to platform shoes, pumps and boots – will be a major part of the event. Along with additional Ossie Clark gowns and other designer name fashions, showgoers will find such key 70s looks as the Bohemian peasant blouse and gypsy skirt, wild-at-heart animal prints and tough, chic well-worn bell-bottom jeans. The show is the place to shop for lacy Victorian fashion (the most talked about trend for Winter ’06), power suits from all eras and terrific buys on vintage furs, jackets and cashmere sweaters.

Hours are Friday, Feb. 3 from 1:00 pm to 8:00 pm; Saturday, Feb. 4, 11:00 am to 6:00 pm. Admission is $20. The Metropolitan Pavilion is located at 125 W. 18th Street, between 6th and 7th avenues in Manhattan.