official daine visual archive
❣ Chile in a Photography ❣
I'd rather be in outer space 🛸
art blog(derogatory)
trying on a metaphor
Love Begins
Sweet Seals For You, Always
No title available
★
JVL
Game of Thrones Daily
Mike Driver
🪼
hello vonnie
Sade Olutola
let's talk about Bridgerton tea, my ask is open
No title available
d e v o n
occasionally subtle
#extradirty
seen from United States
seen from United States
seen from Malaysia
seen from Singapore
seen from United States
seen from Japan
seen from Switzerland
seen from United States
seen from Türkiye
seen from China
seen from United States
seen from United States
seen from Saudi Arabia
seen from Malaysia
seen from United Kingdom
seen from China
seen from United States
seen from United States
seen from United States
seen from Japan
@albertcapraro
April 1979 - Town and Country Magazine
BEYOND TIME: SICILY
Photography: Bill Silano
The capital of a mammoth column, all that remains to indicate the magnitude of what was once the largest Greek temple in the world; the Temple of Olympian Zeus in Agrigento. The short white cotton dress by Albert Capraro.
Dressing Well Is The Best Revenge - Cristina Ferrare wearing ALBERT CAPRARO
April 1979 - Town & Country Magazine
BEYOND TIME: SICILYPhotography: Bill SilanoGolden hued Dorie columns raising the Temple of Concordia in Agrigento with the same strength and grace they did in 450 B.C. The temple, which owes its preservation to its use as a church after the sixth century A.D., offers this serine view to guests at the Hotel Villa Athena, as they waken and fall asleep. The charming hotel is the ultimate in comfort and exemplifies the warm hospitality of Sicily. White crepe dress, a bias-cut draping from suspended from slim straps, by Albert Capraro.
March 22, 1983 - New York Times
Page A4
Bring on your sunny skies, your moonlit nights--
Albert Capraro is ready for you in this season's prettiest dress.
Embroidered red dots on white organdy.
July 11, 1974 - WWD
NEW YORK -- Jerry Guttenberg and Albert Capraro, former designer for the Oscar Boutique line, have formed Jerry Guttenberg, Ltd., to produce dressy ready-to-wear under Capraro's name. Ben Shaw, noted SA backer, will finance the venture. Guttenberg, who resigned as executive vice-president of Leonard Sunshine, Inc., said the will set up a showroom at 550 Seventh Ave.
May 9, 1976 - @sacramentobee Capraro's Waterfall Outline Page 4
Albert Capraro's 'trial balloons' have done much to give a lift to fashions selected by his fast growing clientele of women in the 'know.' This season he does the waterfall outline, tapered ankle tie pants and the bat wing jumpsuit as prototypes for what might be in the fall.
With width falling in a cascade at each side, the waterfall is a new silhouette approach, soft and becoming, but more slender and small through the shoulders. It is part of the general trend toward a more body-conscious mobility. The waistline, when there is one, is elasticized or drawstring and so are many dress bodices, especially when they are off the shoulder. The bat wing jumpsuit is a new hybrid of the caftan and the jump and -- says Capraro -- " …with, I believe, a great future." Capraro thinks summer is the time for women to have fun with apparel that is colorful, light and comparatively inexpensive. Short as the season is, he designs clothing to fill special wardrobe slots but so they can be worn again and again the year around. In his newest collection, Capraro concentrates on natural fibers -- especially pure cotton -- from white duck to cotton burlap to cotton jersey for day. For evenings it si an array of silk crepes and silk chiffons, plus Nyesta jersey which Capraro believes has made an indispensable place for itself in today's fashion world. And interesting to note, many of the little shoes shown with Capraro's collection are flat and strippy, some in multicolored leathers.
January 10, 1975 - WWD
BETTY FORD BUYS AMERICAN
Drawings by Glen Tunstull
NEW YORK -- Betty Ford invited Albert Capraro of Jerry Guttenberg to The White House to order from his spring collection. "She liked the idea of a young American designer using American fabrics." The First Lady selected 12 outfits from his new collection. Here are three of her choices, from the left: the flowered chiffon in salmon, fuchsia and jade on white; the shirt-jacketed suit in toast fake suede, and the yoked matte jersey chemise.
January 9, 1982 - Buffalo Evening News Fashion Inspiration From 1700s By CATHERINE SMITH NEW YORK -- No woman today deliberately setBlass, Albert Capraro, Oscar de la Renta, Gene Ewing, Mary McFadden, Morton Myles, Albert Nipon, Mollie Parnis, Arnold Scaasi and Helen Sideles of the 1700s are on display now in another glittering presentation by Diana Vreeland at the The Metropolitan Museum of Art, New York's Costume Institute in New York City. Women of that time are especially remembered for "sacque dresses," tightly fitted and decollete on top and voluminous through the skirt. Sometimes a train fell from the back neckline of the dress over the pouffed skirt for even more volume. To make the skirts stand out, side paniers came into fashion. These embroidered or decorated skirt panels, were made to stand out by underconstruction of wood or whalebone tied at the waist. Louise Esterhazy has written in Women's Wear Daily that she 's been "18th-centuryed half to death" but most people seem to be enjoying Diana Vreeland's show. Mrs. Vreeland, a longtime editor of Vogue, is an admirer of that time because she says women then emerged from "domestic bondage" to take their places in cities and become "powers behind the throne" as well as leaders of their own intellectual salons. Fashions from France dominate the show but there are also clothes from Sweden, England, Italy, and America, as well as accessories, including a reproduction of the so-called "Queen's Necklace," with 637 diamonds, which is supposed to have hastened the French revolution. The 18th century clothes even have some modern descendants, the Cameo Collection. Merle Norman cosmetics, sponsor for the costume institute show, also commissioned 10 of today's leading designers to do clothes inspired by the 18th century garments. The Cameo Collection includes work by Bill Blass, Albert Capraro, Oscar de la Renta, Gene Ewing, Mary McFadden, Morton Myles, Albert Nipon, Mollie Parnis, Arnold Scaasi and Helen Sidel. Most of their designs are done in opulent fabrics: satin, taffeta, velvet, brocade, lace. There are many of the to-be-expected full skirts, tight bodices and flowing sleeves. Mary McFadden's design even includes her version of side paniers to make the skirt stand out. A book entitled "The Eighteenth Century Woman," is slated to be published in April, 1962, by Doubleday. The text was written by historian Olivier Bernier, and it was edited by Jacqueline Kennedy Onassis. DRAMA AND OPULENCE of the 18th century captured by designer Albert Capraro in his "blush rose" silk taffeta gown with full, full skirt and deep v-neck. Part of the Cameo Collection.
October 17, 1980 - The Telegraph
ALBERT CAPRARO
Capraro: Fashion's Prince Albert
CONVERSATIONS - MARIAN CHRISTY
October 7, 1984 - Saint Louis Post - Dispatch
'Doing Everything Well Is The Best Revenge'
DESIGNER #ALBERTCAPRARO, 40, a 1964 graduate of Parsons School of Design in New York, is still in former First Lady Betty Ford's life. She buys seasonally from her protege, the man she "discovered" and rescued from anonymity in 1976, the year she named him "Bicentennial Designer of the Year."
New York-born Capraro, now known as fashion's Prince Albert, worked seven years in the shadow of Oscar de la Renta as an apprentice. He was in business only six months when Betty Ford, then wife of the 38th president of the United States, began ordering her wardrobe from him. This connection made him rich and famous.
This year, Capraro, who looks like a sheik and lives in New York's ritzy Beekman Place in a duplex decorated in Mideastern style, ran a series of ads in Vogue and Harper's Bazaar featuring Cristina DeLorean with the headline: "Dressing Well Is The Best Revenge." Capraro dresses a bevy of famous friends: Jane Fonda, Diana Ross, Polly Bergen, Phyllis George Brown, and Mary Ann Mobley. His couture clothes cost thousands, but he's now designing a new budget line of sportswear for Gordon of Philadelphia.
"Growth happens with change. But you need a signature. That's something I've never changed. I believe in feminine, romantic clothes. I've never given that up. It's easier for me now than in the early feminist days. Then I did strapless organdy gowns and I was accused of pushing debutantes and of over-emphasizing the female figure. I was also accused of being decadent.
"I didn't believe it. I thought: 'Maybe I'm showing the look on the wrong models.' I also thought: 'Maybe I'm ahead of the times. So I redid the look over the years. And I showed it on models that looked demure rather than sexy. Success is failure turned around. What you learn from a flop is how to do it right next time around.
"Part of the acceptance of feminine clothes is that women have proven they can major career successes. They are less obvious about their hunger for equality. They are feminine feminists who wear soft clothes without being considered soft as persons or soft on the job.
"When Betty Ford invited me to the White House, it was a lucky break. But I quickly found out it was also a detriment. People didn't take me seriously. They thought the recognition was a fluke. I had been in my own business only six months. I found I had to prove that I wasn't just an overnight discovery of Mrs. Ford. I had to prove that I had the back-up of talent.
"It took me a long time to establish that I had merit as a designer. My collections are now in 7,000 stores, a 200 percent increase over the number of stores that carried my line when I dressed Betty Ford. And I can tell you, now, that Mrs. Ford is still one of my best customers.
"I'm one of those people who likes recognition, admiration, acknowledgment. That's my definition of success. Growing up, I didn't hear enough: 'You're wonderful.' My father owned a pet shop. He also told me, to be more, I'd have to do more. He instilled in me the idea that is to be a success I'd have to do things that elicited reaction. Being a designer has fulfilled that fantasy. Fashion is a fairytale on a grand scale.
"I believe doing everything well is the best revenge of life itself. To interesting is to be marvelous. It boosts one's confidence. There was a definite psychology to putting my friend, Cristina DeLorean, in the ads that said: 'Dressing well is the best revenge.' It was a visual pronouncement that even though things weren't good in her life, she remained glamorous. It's the sort of 'best foot forward' psychology that all of us should adopt when we're stressed. How else does one survive?
"For seven years I worked in the back room at the Oscar de la Renta showroom. There was a lot of me in the collection. But that's what apprenticeship is all about. Then I started losing sleep over Oscar's collection, over what was going out on his label, under his name. I thought: 'If I'm going to lose sleep, I'm going to worry about what's being introduced under my own name.' The printed acknowledgment is something I wanted badly. I wanted my name on a label.
"But I was scared. I knew that to launch my own business was a risk. I didn't have a name. I wanted to establish a name. I got a backer and I went into business. And Betty Ford acknowledged me. I suppose you cast your bread on the waters. You take your chances and hope you will be well received. I got lucky. There have also been times my collection was not well received. I told myself that I wouldn't please everyone all the time, which is just an excuse to lick wounds. I learned to find out the why of the criticism, if there was a way to pick up and work around it. It was from these setbacks that I forged my career.
"Fashion has to be related to what women do. Women have proven once and for all that they are not frivolous creatures. I don't create frivolous clothes. Frivolity was part of the late '60s, the early '70s. Now it's nonexistent.
"There are no classic standards in fashion anymore. There is no one hemline. No one silhouette. No one important color. What fashion is about now is point of view. And quality. People want clothes that have a look and that last. Clothes are just a back drop to life and living. Women have gone beyond fashion for fashion's sake. Women are committed to ideologies that give priority to career and a good personal life, not necessarily in that order. I'm trying, as a designer, to keep pace with all that."
"Fashion is a fairy tale on a grand scale." - Albert Capraro
Ventana - The Herald Supplement - 1980 - Frost Bros and The Latest Fashions for the autumn. Running like a champion polo pony, Myrna wears a checkered taffeta evening gown adorned with rooster feathers by Albert Capraro.
July 11, 1974 - @wwd
Form rtw firm
NEW YORK - Jerry Guttenberg and #AlbertCapraro, former designer for the Oscar Boutique line, have formed Jerry Guttenberg, Ltd., to produce dressy ready-to-wear under Capraro's name. Ben Shaw, noted SA backer, will finance the venture. Guttenberg, who resigned as executive vice-president of Leonard Sunshine, Inc., said the firm will set up a showroom at 550 Seventh Ave.
June 1975 - @vogue The Fashion Quorum
ALBERT CAPRARO for JERRY GUTTENBERG
turns black satin utterly romantic. Expressly for THE FASHION QUORUM, enchanting evening dressing to ruffle off-the-shoulders. To wear with the scintillation of diamonds…a circlet at the ears, a brilliant cluster at the wrist, a delicate diamond heart at the neck.
May 25, 1975 - Austin-American Statesman
CLEAR THE WAY FOR ALBERT CAPRARO'S SIRENS
The look that surprised Paris is interpreted by the newly-famous young fashion wizard Albert Capraro, for Jerry Guttenberg. Black bodydressing for evening, in cool cotton jersey, flashed with white here to there neckline zippers long or short. Nothing demure or timid here THE LOOK is smashingly sexy.
May 9, 1976 - Sacramento Bee
Capraro's Waterfall Outline
Page 4
Albert Capraro's 'trial balloons' have done much to give a lift to fashions selected by his fast growing clientele of women in the 'know.' This season he does the waterfall outline, tapered ankle tie pants and the bat wing jumpsuit as prototypes for what might be in the fall.
With width falling in a cascade at each side, the waterfall is a new silhouette approach, soft and becoming, but more slender and small through the shoulders. It is part of the general trend toward a more body-conscious mobility. The waistline, when there is one, is elasticized or drawstring and so are many dress bodices, especially when they are off the shoulder. The bat wing jumpsuit is a new hybrid of the caftan and the jump and -- says Capraro -- " ...with, I believe, a great future."
Capraro thinks summer is the time for women to have fun with apparel that is colorful, light and comparatively inexpensive. Short as the season is, he designs clothing to fill special wardrobe slots but so they can be worn again and again the year around.
In his newest collection, Capraro concentrates on natural fibers -- especially pure cotton -- from white duck to cotton burlap to cotton jersey for day. For evenings it si an array of silk crepes and silk chiffons, plus Nyesta jersey which Capraro believes has made an indispensable place for itself in today's fashion world.
And interesting to note, many of the little shoes shown with Capraro's collection are flat and strippy, some in multicolored leathers.