The Impeccable Hauteur of Jacqueline de Ribes

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asthetics, Balmain, Black is Not a Color, Christian Dior, Costume Institute, elegance, exhibit, Harold Koda, Jackie Kennedy, Jacqueline de Ribes, Jacqueline Onassis, Marlon Brando, Metropolitan Museum of Art, remarkable women, Richard Burton, Rozsa Gaston author, shaken but not stirred, The Art of Style, The Westchester Guardian, Yves St. Laurent, zeitgeist

The Impeccable Hauteur of Jacqueline de Ribes
By Rozsa Gaston for The Westchester Guardian, Dec. 10, 2015

“Elegance. It’s an attitude. A frame of mind. An intuition, a refusal, a rigor, a research, a knowledge. The attitude of elegance is also a way of behaving.”—Jacqueline de Ribes

Jacqueline de Ribes in her own desgin, 1983. Courtesy of The Metropolitan Museum of Art, Photograph by Victor Skrebneski, ©Skrebneski Photograph, 1983

Gift yourself this holiday season with a visit to see Jacqueline de Ribes: The Art of Style, The Metropolitan Museum of Art Costume Institute’s latest exhibit. The impeccable hauteur of Parisian designer Jacqueline de Ribes is on display now through February 21, 2016 in a dazzling exhibit featuring 60 haute couture and ready-to-wear ensembles from her personal archive, dating from 1962 on. The clothes are gorgeous, unfussy, and vibrantly colorful. But the exhibit’s focus on Jacqueline de Ribes’ life and imprint on the zeitgeist of international fashion is the takeaway that will make a permanent impression on those with a thirst for refinement of both spirit and manners.

Jacqueline de Ribes, in Christian Dior,  1959, Courtesy of The Metropolitan Museum of Art, Photograph by Roloff Beny

There are Jacquelines, then there are Jacquelines. A notable few are known for their style, such as Jacqueline Kennedy Onassis. But the ne plus ultra of style goes to Jacqueline de Ribes, a Frenchwoman who defines grace and chic for all times. Unflappable sangfroid? she has it; the rest of us want it.

One can see the “intellect, rigor, and discipline that went into creating each dress,” exhibit curator and Costume Institute director Harold Koda observed in his remarks at the exhibit’s press opening on November 17.

One can also see these qualities in the ramrod straight posture and firm upward thrust of the chin of international style icon Jacqueline de Ribes in the exhibit’s many photos and photo montage show.

Gallery View, Evening Wear © The Metropolitan Museum of Art

Designer, fashion leader, theater director, television and movie producer, patron of the arts, wife and mother, she was also a crack sportswoman in her younger years. A French aristocrat, de Ribes exercises discipline to present the best version of herself to the world at all times– qualities also seen in the top echelon of blue-blooded American society.

Photo montage from Jacqueline de Ribes: The Art of Style exhibit, The Metropolitan Museum of Art

Jacqueline, Countess de Ribe’s long-limbed litheness provides the framework for the carefully thought out performance art she exhibits in every public appearance. Born on Bastille Day, July 14, 1929, she grew up in the highest circles of French society. Upon exiting convent school, she married Vicomte Édouard de Ribes in 1948 and emerged as an international style icon during the 1950s. In 1956 she came to the attention of the international stage by making the International Best Dressed List; in 1962 de Ribes was named to the International Best Dressed List Hall of Fame, where she remains.

Gallery View, Evening Wear ©The Metropolitan Museum of Art

After years of wearing haute couture by favorite designers Christian Dior, Yves Saint Laurent, and Pierre Balmain, Jacqueline de Ribes began her own line in 1982. She found little support among her own social circle, with her family objecting that “an aristocratic woman doesn’t enter commerce.” Her husband finally gave his blessing, but said, “you have to raise your own money.”

Press clipping from Jacqueline de Ribes: The Art of Style, The Metropolitan Museum of Art

She came to New York and did. Why was she able to succeed in New York and not in Paris?

Jacqueline de Ribes’ “biggest support was in America: that was because her lines were very clean. There is a lucidity, a clarity about what she does,” explains Koda, who spent the past year working with Countess de Ribes on her Met exhibit. The flow and lack of fuss of the clothes on display in the exhibit are notable. Her mindset was modern. She chose daytime outfits she could work in. “I am not a lady who lunches. My suits have to move. My clothes have to be comfortable. I have to be able to work,” she says.

Certain photos of Jacqueline de Ribes in one-on-one encounters with celebrities captured in the photo montage at the exhibit’s entrance are worth the visit alone. Marlon Brando appears bedazzled by Countess de Ribes as she warmly greets him. Richard Burton looks captivated as she offers him an embracing smile atop a sharply jutting chin while Elizabeth Taylor peers helplessly on; the mix of alarm and envy on her face: priceless.

Gallery View, Black and White for Night © The Metropolitan Museum of Art

“As a person she’s incredibly seductive,” Koda remarks, describing how she leans in toward her conversation partner, speaks in a soft silvery voice, and touches her throat from time to time in an “it’s just the two of us” gesture. Again, Jacqueline Onassis comes to mind.

Gallery View, Black and White for Night © Metropolitan Museum of Art

“Does anyone want to be elegant rather than sexy?” Jacqueline de Ribes fretted to Koda while they worked together on preparing the exhibit. Most emphatically, yes. In Countess de Ribes’ own words, “The art of being sexy is to suggest. To let people have fantasy.” So timelessly true.

Tour Eiffel, photo by Rozsa Gaston

Jacqueline de Ribes reflects the indomitable hauteur of Paris: shaken, but not stirred. Run, do not walk, to see Jacqueline de Ribes: The Art of Style at The Metropolitan Museum of Art. You will come away with straighter posture, a higher tilt to your chin, and a heightened sense of self-possession after immersing yourself in the life and clothing design choices of this exquisite woman.

View of Paris from the Tour Eiffel, Photograph by Rozsa Gaston

Jacqueline de Ribes: The Art of Style exhibition is on view from now through February 21, 2016 at the Anna Wintour Costume Center of The Metropolitan Museum of Art, 1000 Fifth Avenue at E. 82nd Street, New York, New York 10028.

Rozsa Gaston is a Bronxville author who writes playful books on serious matters. Women getting what they want out of life is one of them. Her novel Black is Not a Color is the story of Manhattan woman Ava Fodor’s quest to balance a new U.N. job and new French boyfriend while caring for her ailing Hungarian father in the final year of his life. Midwest Book Review calls Black is Not a Color “A compelling, entertaining, and deftly crafted read from first page to last.” Black is Not a Color is available on amazon.com in paperback, eBook, or audiobook editions.

“The point in life…is to find equilibrium in what is inherently unstable.”~Pierre Reverdy

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bad boys, caregiving, Chanel, fashion, fiction, French poets, Pierre Reverdy, Rimbaud, romance

The point in life…is to find equilibrium in what is inherently unstable.~Pierre Reverdy from Coco Chanel by Lisa Chaney

Who is Pierre Reverdy? An early twentieth century French poet and influencer of others. He made Arthur Rimbaud look like a choir boy.

Reverdy was a dear friend of Gabrielle Coco Chanel. Handsome, independent, a trifle brutish, he appealed to the peasant woman buried deep inside the exquisite Chanel.

In other words, Chanel’s bad boy. Need I say more? 

Find out more about bad boys in my latest book Black is Not a Color, sequel to Paris Adieu. Out in audiobook, it’s the story of Ava Fodor’s struggle to care for her father while cultivating her relationship with her new French boyfriend Pierre. Not a bad boy. Too good for Ava, in her mind, in fact.

Can Ava measure up? First she needs to measure up to caring for her father, who didn’t raise her as a child. Not easy.

Ava is not the only grown up child of a parent who didn’t raise her. There are many men and women with such a tale out there. Coco Chanel was one. If Ava’s idol Chanel could get beyond a rough start in life, so can Ava. So can you.

Listen to Ava’s story in Black is Not a Color and take inspiration. Move out of the shadows of a less than ideal childhood and take your place in the sun. Coco Chanel is your lodestar. And Ava’s story in Black is Not a Color will help you find the hero within yourself.

Warmly,

Rozsa Gaston

Paris in Shades of Gray

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Paris, Paris Adieu, Pere Lachaise cemetery, relationships, romance, self-discovery, Shades of Gray

At this time of year, Paris shows off in shades of gray. 

From mid-November to mid-March, Paris is one long season of gray days with the occasional breakthrough of a mild blue sky. None of those brilliant blue skies of a snappy, cold January day in New York, darlings. Instead, Paris cloaks us in somber, reflective gray that drives us inside to warm cafes and cozy corners where we keep company with a good book and let our imaginations wander.

An excerpt from Paris Adieu a coming-of-age tale of Ava’s journey to self-discovery in the City of Light. Christmas stocking stuffer? Yes, darlings. The season quickly sizzles between the pages of Paris Adieu.

Soon cloudless, warm October days gave way to iron-gray, rainy, cold November ones. The memory of Paris’s long, drab winter the year I’d turned twenty returned to me. Paris was nowhere near as cold as New York, but its skies were unrelentingly gray during the winter season, unlike the azure-blue brilliance of certain New York days in early winter. November to March in Paris was like one long month of February in New York.

Almost every day, I walked in Père Lachaise, where Arnaud and I had frequently strolled the month before. I began to notice the regulars who frequented the area: dog-walkers, couples, and lone walkers. All of us seemed shrouded in private thoughts – the cemetery a perfect backdrop for our self-reflection.

Statue over the Seine, Paris

Upon entering the main gates late one gloomy, gray Friday morning I spotted a notice affixed to the lamppost next to the entrance. A print of a painting of a sharp-faced, aristocratic looking man announced an artist’s opening exhibit at a local gallery the following day, Saturday, November fifteenth. Startled, I realized a month had already passed since Arnaud had left. Even more shocked, I realized I hadn’t thought about him very much over the past few days.

I examined the poster more closely. The man’s petulant expression was similar to the way Arnaud looked at times. Almost guiltily, I admitted to myself I didn’t like that side of him at all. It reminded me of the sharp-featured, beautiful woman in the photo in his country home. I didn’t like her either. Suddenly, it made sense to me why he’d spoken of her as his mentor. They were most likely two of a kind – all angles, questions, and sharp edges. For the first time, I gave myself permission to accept how very different Arnaud was from me. I loved learning from him. But I wasn’t like him at all. Why was I trying so hard to fit into the image of a woman he might fall in love with?

I continued on my way into the cemetery, where I passed the next hour deep in self-examination. À chacun son goût, to each his own taste, Arnaud had said. On my own, without him around, I was free to explore what my own tastes were.

I picked my way among the monuments and gravestones, mulling over the possibility that my own choices might differ from the man I was involved with. My thoughts were subversive. My mind tingled and raced. I was falling in love with a new person.

Myself.

As I made my way down the main boulevard toward the exit, a tall, lean-faced man walked toward me. His gait was awkward, as if he was just renting space in his own body and wasn’t quite familiar with it.

As he passed, his eyes briefly made contact with mine. They were warm, strangely reassuring. Instantly, I felt a connection. Whoever he was, he wasn’t polished, smooth, one hundred per cent self-sufficient and perfectly packaged like most Parisians appeared to be, foremost among them – Arnaud. This stranger seemed a bit out of his element, interested to reach out. He hadn’t yet arrived, I’d guess. Just like me.

I shivered, hurrying on to escape my illicit thoughts. I was crazy about Arnaud’s blue-green eyes. Why had I even noticed for a moment the warm, brown eyes of a stranger? Shaking my head to clear it from conjecture’s cobwebs, I berated myself. Yet the thought remained. Arnaud’s glance didn’t reassure me. It was exciting, electrifying – but rarely reassuring. Was that what I really wanted out of a relationship with a man?

From Paris Adieu, chptr. 14, by Rozsa Gaston. A sizzling tale to lose yourself in when the season cloaks you in shades of gray.

Paris in Shades of Gray

At this time of year, Paris shows off in shades of gray. 

From mid-November to mid-March, Paris is one long season of gray days with the occasional breakthrough of a mild blue sky. None of those brilliant blue skies of a snappy, cold January day in New York, darlings. Instead, Paris cloaks us in somber, reflective gray that drives us inside to warm cafes and cozy corners where we keep company with a good book and let our imaginations wander.

An excerpt from Paris Adieu a coming-of-age tale of Ava’s journey to self-discovery in the City of Light. Christmas stocking stuffer? Yes, darlings. The season quickly sizzles between the pages of Paris Adieu.

Girl at window in rain

Soon cloudless, warm October days gave way to iron-gray, rainy, cold November ones. The memory of Paris’s long, drab winter the year I’d turned twenty returned to me. Paris was nowhere near as cold as New York, but its skies were unrelentingly gray during the winter season, unlike the azure-blue brilliance of certain New York days in early winter. November to March in Paris was like one long month of February in New York.

Almost every day, I walked in Père Lachaise, where Arnaud and I had frequently strolled the month before. I began to notice the regulars who frequented the area: dog-walkers, couples, and lone walkers. All of us seemed shrouded in private thoughts – the cemetery a perfect backdrop for our self-reflection.

Statue over the Seine, Paris

Upon entering the main gates late one gloomy, gray Friday morning I spotted a notice affixed to the lamppost next to the entrance. A print of a painting of a sharp-faced, aristocratic looking man announced an artist’s opening exhibit at a local gallery the following day, Saturday, November fifteenth. Startled, I realized a month had already passed since Arnaud had left. Even more shocked, I realized I hadn’t thought about him very much over the past few days.

I examined the poster more closely. The man’s petulant expression was similar to the way Arnaud looked at times. Almost guiltily, I admitted to myself I didn’t like that side of him at all. It reminded me of the sharp-featured, beautiful woman in the photo in his country home. I didn’t like her either. Suddenly, it made sense to me why he’d spoken of her as his mentor. They were most likely two of a kind – all angles, questions, and sharp edges. For the first time, I gave myself permission to accept how very different Arnaud was from me. I loved learning from him. But I wasn’t like him at all. Why was I trying so hard to fit into the image of a woman he might fall in love with?

Paris in shades of gray and brown

I continued on my way into the cemetery, where I passed the next hour deep in self-examination. À chacun son goût, to each his own taste, Arnaud had said. On my own, without him around, I was free to explore what my own tastes were.

I picked my way among the monuments and gravestones, mulling over the possibility that my own choices might differ from the man I was involved with. My thoughts were subversive. My mind tingled and raced. I was falling in love with a new person.

Myself.

As I made my way down the main boulevard toward the exit, a tall, lean-faced man walked toward me. His gait was awkward, as if he was just renting space in his own body and wasn’t quite familiar with it.

As he passed, his eyes briefly made contact with mine. They were warm, strangely reassuring. Instantly, I felt a connection. Whoever he was, he wasn’t polished, smooth, one hundred per cent self-sufficient and perfectly packaged like most Parisians appeared to be, foremost among them – Arnaud. This stranger seemed a bit out of his element, interested to reach out. He hadn’t yet arrived, I’d guess. Just like me.

I shivered, hurrying on to escape my illicit thoughts. I was crazy about Arnaud’s blue-green eyes. Why had I even noticed for a moment the warm, brown eyes of a stranger? Shaking my head to clear it from conjecture’s cobwebs, I berated myself. Yet the thought remained. Arnaud’s glance didn’t reassure me. It was exciting, electrifying – but rarely reassuring. Was that what I really wanted out of a relationship with a man?

From Paris Adieu, chptr. 14, by Rozsa Gaston. A sizzling tale to lose yourself in when the season cloaks you in shades of gray.

Life beckoned and Ava rushed toward it.

Tags

contemporary romance, free book, Kindle, Paris, travel, women's fiction

Life beckoned and Ava rushed toward it. – from Paris Adieu by Rozsa Gaston.

Paris Adieu hit No. 1 on Amazon’s Best Sellers in Travel list yesterday. Thank you, readers. Until midnight tonight, Fri. Nov. 30, Paris Adieu Kindle Edition is downloadable FREE on amazon.  US readers go to http://amzn.to/MLX194. UK readers go to http://amzn.to/TBFNfp. Wander the streets of Paris on a journey to self-discovery, dear friends.

Amazon Best Sellers in Travel List 11-29-12

Self Esteem Journey with Paris Adieu by Rozsa Gaston

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body awareness, e-book giveaway, food addictions, free book, hot tub interview, kindle book, nutrition, Paris, personal growth, romance, self-discovery, travel, women's issues

Author Rozsa Gaston discusses her coming of age novel Paris Adieu in comfortable surroundings. Join her in a three-minute discussion of how Ava learns to be comfortable in her own skin.

FREE giveaway of Paris Adieu Kindle Edition begins tomorrow, Thurs. Nov. 29 and ends Fri. Nov. 30 at midnight. Download Paris Adieu for free and tell your friends to download too. You don’t have to have a Kindle to download Kindle Edition. Download the Kindle App on your iPad or home computer and start reading about Ava’s journey to self-discovery. Paris Adieu at  http://amzn.to/MLX194.

How Ava Learned to Eat Well in France

When Ava arrived in Paris at age 19, she couldn’t walk past a pastry shop without going in. Fifteen pounds later, she decided she needed to take control of her food choices. It was a gradual process. Parisian women proved attractive role models to Ava, with their love of pleasure and careful attention to eating small quantities of delicious, high-quality food. They knew something Ava didn’t. It took her ten years to find out. You can find out faster by picking up Paris Adieu and skipping directly to Chapter Seven, p. 114.

Although she admired Parisian women from afar, she couldn’t study them at close quarters, because she didn’t know any. It was Ava’s British girlfriend, Charlotte, whose eating habits tripped the switch that put Ava on the right course to gaining mastery over how she ate and how much. The following scene is excerpted from Paris Adieu:

We took our coffee at the counter, where Pascal introduced me to a new custom. I’d often wondered why eggs were displayed on a vertical stand on Parisian café counter tops, especially in the mornings. Now, I watched as he plucked three eggs from the stand, peeled, and salted one then handed it to me. The hard-boiled egg was fresh and delicious.

My English girlfriend, Charlotte, came to mind. I’d met her in Tokyo, where I taught English the summer between sophomore and junior years. She was ten years older, wildly sophisticated, with a penchant for black American Japanese major league baseball players; a male genre which enjoyed superstar status in Japan. Pretty, tall, and willowy, her complexion was as delicate as an English rain shower.

Her eating habits had been as carefully controlled as her love life had not. She was discipline personified. I’d soaked up everything she did, worshiping at the altar of her self-control. Every morning, she’d eat either one hard-boiled or soft-boiled egg with a piece of unbuttered whole wheat toast. She’d wash this down with a few cups of tea. I never saw her vary from this routine once. After we’d parted ways in Tokyo, she came to Yale one spring to visit me. At breakfast in the chaos of my residential college dining hall, surrounded by undergraduates wolfing down doughnuts, bowls of granola, plates of pancakes, eggs and bacon, she maintained her strict regimen by carefully peeling her hard-boiled egg and toasting her lone piece of bread. My girlfriends and I were in awe.

A good number of the girls in my class were anywhere from five to fifteen pounds overweight, except for the ones who were anorexic, bulimic, or naturally slim. My female colleagues and I sucked in our breaths as Charlotte rose from the table after breakfasting, her stomach flat, hip bones jutting out fashionably under her thin, flowered dress, with long slim legs ending in ankles you could wrap your fingers around. Everything about her showed us up. After dark, she was capable of drinking like a fish, another British character trait my Yale colleagues and I found impressive.

As I stood at the counter, enjoying my salted, hard-boiled egg, I connected up the dots. Pascal was showing me how to do something Charlotte had known how to do her entire adult life: carefully control her blood sugar in the morning so she didn’t become enslaved to it for the rest of the day.

Finishing the egg, I washed it down with strong coffee with foaming milk in it. Suddenly the display case of flaky croissants farther down the counter had no power over me. If the counterman had slid it down to my end, taken off the top, and wafted the tray under my nose, I wouldn’t have flinched. My one hard-boiled egg with coffee was enough. For the first time in my life, I felt like a Frenchwoman.

Excerpted from Paris Adieu by Rozsa Gaston © 2012, all rights reserved.