What’s elegance? Since a long time ago “arbiters” and “specialists“ on the subject try to define, to explain and to categorize what is that. “A sort of harmony, which, in certain way, remembers the beauty”, was theorizing Geneviève d’Ariaux in his “Book of the Elegance” (Record, 1965), called by many The Bible of style. “But with the difference of which the beauty is more frequently a gift of nature, while elegance is a result of the art”.
The most recent title to be bent on this “art” is “The Parisian” (Intrinsic, 2011), it drives of style of Inès de la Fressange (written with the “collaboration” of the journalist Sophie Gachet). The woman of Paris, quite good, is taken here like the biggest refinement example, at his power of the rules of the elegance, but especially for his capacity of infringing them with grace.
Inès is an icon of the fashion from the 80 years, when there was made the first model to sign a contract of exclusiveness with the mark Chanel, and became an eternal muse of fashion designer Karl Lagerfeld, who up to today resorts to his hunches.
As Inès, Geneviève was also connected to fashion. He was for years the right arm of the French fashion designer (born in Italy) Nina Ricci, and director of the house of the same name. His book, among other things, talks to the “Parisian” about an elegance that is also, basically, the urbane French elegance of the haute couture of the 50 years, in the tradition of Jacques Fath – impossible to be more Parisian than that.
In spite that France remains (and the French woman) an example of sophistication, it is impossible not to notice a basic difference in approach. “The Parisian” of Inès is content with lists of “what to make / without doing” and a shops itinerary where he will buy pieces to emulate a style (though she always affirms that it is the creativity what guarantees the chiquê of the Parisian). Geneviève – still what under the weight of some concepts today frankly obsolete – considers the “elegance” as the result of a civilization process, and has to say more about time characters, wings of the fashion, culture and style in them.
Inès does not seem interested in voicing her opinions on style, which might be explanatory, as soon as she is a muse and “counselor“of one of the most important fashion designers of the present. She is restricted to a somewhat schematic text, which slide for the surface of the surface and it does not answer, at last, what does from the style of the woman of Paris – his protagonist – anything that wants to be imitated.