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“Mrs. Grace is never fashionable; she drives fashion” – her work opens at SCAD

Grès is known for her Greek dresses, but the timelessness of her designs is not just a function of their classicism; part of the reason they stay modern is that the designer’s primary focus is the body; she The second, fabric. She has no interest in vagaries of trends. In addition, Grace was trained as an artist, and Saillard observes, “not so much a fashion designer as a sculptor”. His assessment is in line with Vogue‘s view of designers. “Alix – with the soul of a sculptor and the gift of putting new clothes on Western civilization – is the talk of Paris. The veil of this young haute couture newcomer is making a loud voice for the fashion world,” The magazine said enthusiastically in 1935. .

from Vogue File: Edwina d’Erlanger in an Alix chiffon dress. Horst P Photo. Horst, Vogue, February70, 1935

From the Vogue archives: Directoire-style dress by model Alix. Drawn by Carl Erickson, Fashion, September15, 19371980


Germain Barton , she was apprenticed at Premet in Paris, under the name Alix Barton Worked on behalf of Maison Alix until joining Maison Alix at

. In 1935 she resolves her husband’s name to Grès and builds her own house on the rue du Paix where she works until she is in

Reluctantly retired. . Saillard met the designer at the end of his career, but said: “I’m not very enthusiastic about Mrs. In’ era, she was a vintage designer compared to Issey Miyake, Karl Lagerfeld or Yves Saint Laurent,” he said. In his then role at the Museum of Decorative Arts, the curator showed up on the fateful day of 1987 when the house was liquidated, where he collected costumes that otherwise would have been Doomed to go to the garbage heap. “That day,” Grace’s daughter Anne later said, “they stole her life.” (Annie then concealed her mother’s death in 1993 ; more than a year later, and a few months after a retrospective of Grès at the Costume Institute, the revelation was revealed.)

Saillard in 1937 was reintroduced to the designer as curator of the renovated Palais Galliera, where the curator dramatically presented Grès’s work. Since then, Saillard said, “I have always regarded Madame Grès as my angel; every moment I needed to do something, Madame Grace came. Now in Atlanta, she is with me.”



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