NEW YORK—If designer Maggie Norris were working in the 18th century, she might likely be dressing the ladies of the French court—women who spent their days tottering about and gossiping among one another, each one powdered from her bosom to the top of her bouffant. But Norris isn’t designing for those women—she’s designing for today’s women, who rule their empires by BlackBerry.
Norris recognizes that despite the fact that the modern woman works long hours, lets her ambitions get the better of her, and probably lives in a concrete cube, she is more, not less, in need of luxury and fantasy than her 18th century counterpart.
“You can be a princess in a tailored suit—it’s more about a woman’s fancy,” she says.
Nothing illustrates the female appropriation of male elements better than a gown that stands prominently in Norris’s cozy Midtown Manhattan studio. It is a satiny champagne-olive dress with a fitted waist and voluptuous train—and military insignia and a belt made from a British soldier’s shoulder strap, complete with curving row of antique army buttons.
If the description sounds incongruent, it’s not—the whole ensemble looks like the uniform of the future’s best-dressed woman general. “It’s about femininity mixed,” Norris said. “I love eclectic mixes that work.”
By “work,” Norris means something that ultimately flatters the female form. “When a woman comes in, we can enhance her figure with architectural lines ... It’s rare to walk into a store and find something that fits as well as we can make it.”
Norris’s work is rooted in tradition and given life by a free imagination. That she was raised in New Orleans has a lot to do with her old-is-new style.
“Growing up in New Orleans, there was so much cultural freedom,” she said. “Every Mardi Gras was like a fantasy. And the French Quarter looks like Paris in a way. It was a wonderful culture to grow up in.”
Honoring Artists
Two of the themes Norris reaches for again and again are those of Russia and Napoleon. She and her team of designers spend a lot of time researching paintings, such as the ones of Napoleon by one of his greatest contemporary admirers, Jacques-Louis David.
“It is important to research the history of the period, architecture, literature, music, and paintings of the time,” says Norris. “Each century has its brilliant artists.”
Yet despite its strong reference to history, Norris’s work is not to be interpreted as period dress. “It’s more about the essence of the period—capture the silhouette, and find new ways to present it.”
For example, take Napoleon, whom Norris says was extremely fashionable. (“He was like the Lady Gaga of his time!”) For a Napoleon-inspired look, Norris takes his layered cummerbunds and pairs them with a military jacket and a tulle ballet skirt.
Not only does Norris reference European culture, she dips into Asian influences as well. One of her pieces is a tasseled, draped skirt fashioned from 18th century Chinese brocade. Her Russian-inspired creations make wearers look like czarinas (who may or may not have raided the czar’s closet).
Craftsmanship
“A jacket is like a gift—it takes weeks to make,” says Norris, fingering the stitching on a cropped jacket. “We honor the craftsman and strive to continue the heritage and respect for well-made clothes that will last forever.”
Even though couture is categorically leagues beyond ready-to-wear fashion, even runway trends are throwaway compared to Norris’s sensibilities and methods. Norris employs a small, tight-knit team of seamstresses who work right next door to her studio. At this particular point in time, they have about 10 pieces in progress—which is quite a full load.
Each of Norris’s garments begins with the most luxurious fabric, which sometimes she just chances upon at flea markets. One corset was made from a wide antique floral design ribbon that Norris found in France. Another was crafted from a 17th century menswear vest. The beauty of corsets, Norris says, is that they require so little fabric.
One of her corsets, an $18,000 red beaded one named “Ekaterina,” has quite the history. It began life in Paris, debuted at the Russian consulate in the United States, was shown in the windows of Bergdorf Goodman, graced the frames of Reese Witherspoon and Bette Midler, and was immortalized in a portrait by Nelson Shanks, who has also painted Princess Diana, Pavarotti, and Pope John Paul II.
Like that corset, Norris never stops moving. As of late, she has dressed Hannah Yelland for the Tony Awards and ballerina Irina Dvorovenko for Paws for Style, a benefit fashion event for animal rescue. Coming up in the not too distant future, Norris will produce the wardrobe for an upcoming movie called “Letz Waxx,” directed by Andrew Le Pera. The details of the film have not been released yet, but we know that the costuming will be fabulous.
For updates from Maggie Norris and to see photos of her work, become a fan of her Facebook page by searching Maggie Norris Couture.
